Patterns in Platform Video Production in ten Countries

Ref. Ares(2023)3306791 - 11/05/2023 Deliverable 3.2 Patterns in Platform Video Production in ten Countries Document information Grant Agreement #: 101004488 Project Title: EUROPEAN MEDIA PLATFORMS: ASSESSING POSITIVE AND NEGATIVE EXTERNALITIES FOR EUROPEAN CULTURE Project Acronym: EUMEPLAT Project Start Date: 01/03/2021 Related work package: WP3 –Hegemony: Platformization of Video Related task(s): T3.2 – Patterns in Platform Video Production n in ten Countries Lead Organisation: P3 –NBU Boshnakova, Dessislava, NBU Christova, Evelina NBU Author(s): Petkov, Stoyko NBU Toms, Justin, NBU Ağca, Yasemin Gümüş, Bilkent Andersson, Vilhelm, IKED António Vasconcelos, ISCTE Archontaki, Ioanna, NKUA Bauwel, Sofie Van, UGent Biltereyst, Daniël, UGent Carlson, Jim Ingebretsen, FUOC Carpentier, Nico, CU Dankova, Dessislava, NBU Contributor(s): De Sutter, Femke, UGent Dündar, Irmak, Bilkent Gosheva, Boryana, NBU Grassmuck, Volker, HBI Hroch, Miloš, CU Karadimitriou, Achilleas, NKUA Kompatsiaris, Panos, IULM Latronico, Valentina, FUOC Lupiáñez-Villanueva, Francisco, FUOC 2 Miconi, Andrea, IULM Moreno, José, ISCTE Papathanossopoulos, Stylianos, NKUA Peschke, Lutz, Bilkent Santos, Sofia F, ISCTE Sepúlveda, Rita, ISCTE Seyfafjehi, Seyedehshahrzad, Bilkent Status Final Submission date: 11/05/2023 Dissemination Level: Public 3 Table of Contents 1. Introduction ................................................................................................................... 6 2. Section 1 - The most important channels on YouTube, Instagram and TikTok ................ 8 2.1 YouTube........................................................................................................................... 8 2.2 TikTok ........................................................................................................................... 16 2.3 Instagram ...................................................................................................................... 24 3. Section 2 - Country specific VS platform....................................................................... 32 3.1 Germany ........................................................................................................................ 32 3.2 Sweden .......................................................................................................................... 34 3.3 Greece ........................................................................................................................... 35 3.4 Bulgaria ......................................................................................................................... 36 3.5 Czech Republic .............................................................................................................. 37 4. Section 3 - EUROVOD - European VS platforms .......................................................... 39 5. Section 4 - The top movies on three video-on-demand platforms ................................. 43 5.1 NETFLIX films............................................................................................................... 44 5.2 Disney+ films ................................................................................................................ 66 5.3 HBO films ...................................................................................................................... 78 5.4 iTunes............................................................................................................................ 91 5.5 Amazon Prime Video ................................................................................................... 106 5.6 Google Play .................................................................................................................. 119 5.7 Summary of films on VOD platforms in the ten countries ............................................ 130 6. Section 5: The TV shows on three video-on-demand platforms .................................. 137 6.1 Netflix TV Shows.......................................................................................................... 137 6.2 Disney+ TV Shows ....................................................................................................... 149 4 6.3 HBO TV Shows ............................................................................................................ 155 6.4 Amazon Prime Video TV Shows ................................................................................... 161 6.5 iTunes TV Shows ......................................................................................................... 167 6.6 Summary of TV Shows on VOD platforms in the ten countries .................................... 173 7. Section 6 - Public Service Media platforms ................................................................. 180 7.1 Country of origin of films............................................................................................. 180 7.2 Original Language of the Film ................................................................................. 182 7.3 Use of English and National Language in Films ...................................................... 184 7.4 Genres of Films ....................................................................................................... 184 7.5 Country of origin of TV Series ................................................................................. 185 7.6 Original Language of the TV Series ......................................................................... 186 7.7 Use of English and the National Language in TV Series .......................................... 188 7.8 Genres of TV Series ................................................................................................. 188 7.9 Other data............................................................................................................... 189 8 Conclusion ................................................................................................................. 191 9 Acknowledgements .................................................................................................... 195 10 References .............................................................................................................. 196 5 1. Introduction The report offers data and analysis of the video content production on platforms in the ten countries of EUMEPLAT. Task 3.2- Patterns in platform video production spanned over six months, with New Bulgarian University in charge as task leader, and the following partners involved: IULM, HBI, FUOC, UGent, Bilkent, NKUA, ISCTE, IKED, CU. Over a 4-month period of observation, each partner analyzed the specific offer delivered by for-pay platforms in its own country, and the most visible channels on Video Sharing Platforms (VSP). A main aspect to consider is the provenience of the videos – either national, European and US. Data coming from both video platforms (Amazon, Google/YouTube Analytics, Amazon) and research agencies (We Are Social, Statista, Hypeauditor and the Eurostat database) was considered. The deliverable collects and assembles the following reports: Patterns in Platform Video Production in Bulgaria (NBU); Patterns in Platform Video Production in Italy (IULM); Patterns in Platform Video Production in Germany (RUB); Patterns in Platform Video Production in Spain (FUOC); Patterns in Platform Video Production in Belgium (UGent); Patterns in Platform Video Production in Turkey (Bilkent); Patterns in Platform Video Production in Greece (NKUA); Patterns in Platform Video Production in Portugal (ISCTE); Patterns in Platform Video Production in Sweden (IKED); Patterns in Platform Video Production in Czech Republic (CU). In all ten countries represented in the EUMEPLAT Consortium, we have analyzed the role of main video platforms on both sides of production and consumption, over the already mentioned 4-month observation. The role of niche platforms - such as local ones and those participating to the EUROVOD network – has been considered as well, ad so it was that of the new upcoming platforms, and namely that of Disney. As to production, we have analyzed the video offer in the main platforms: the most popular channels in YouTube, and the libraries of movies, documentaries and TV-series in for-pay platforms. 6 An analysis was conducted on the film contents in You Tube, Netflix, Disney+, HBO, iTunes, Amazon and Google. The researched period was 01.11.2021-27.02.2022, in all the ten countries participating in EUMEPLAT. By no doubt, Netflix is the most popular and top-watched platform in all the ten countries, followed by Disney+. HBO and iTunes are present in the top-3 list in five of the countries. Amazon Prime is popular in 3 countries, and the last place is for Google Play with 2 countries. By and large, the USA contents offered in all platforms predominate. The language breakdown of the most popular contents has been studies as well. The global video streaming market size was estimated at USD 375.1 billion in 2021, and it is expected to hit around USD 1,721.4 billion by 2030 with a registered CAGR of 18.45% from 2022 to 2030.1 Four players - Netflix, Amazon, Apple and Disney - accounted for 72% of all SVOD subscriptions in Europe in 2020, while 40 players collecting 28% of all subscriptions.2 This report also provides information about the network of independent video-on-demand platforms EUROVOD and its 24 core members, one affiliate member and 10 associated members. Video Streaming Market Size, Trends, Growth, Report 2030, https://www.precedenceresearch.com/videostreaming-market, 14.02.2023 2 YEARBOOK 2021/2022 KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p.49. 1 7 2. Section 1 - The most important channels on YouTube, Instagram and TikTok 2.1 YouTube The first platform we took into exam is YouTube. We can probably dispense with the motivations, as YouTube is the pioneer video sharing platform, and the second largest search engine overall, experienced a 4.9% growth rate in 2021. In 2022, the monthly active YouTube users worldwide were 2.56 billion.3 Table S1_1 Frequency of the country on top 100 Youtube channels in 10 countries 3 Shepherd, Jack, 22 Essential YouTube Statistics You Need to Know in 2023, https://thesocialshepherd.com/blog/youtubestatistics#:~:text=YouTube%20has%202.1%20billion%20monthly,some%20pretty%20impressive%20YouTube% 20statistics!, 19.02.2023 8 For the purposes of our analysis, we put into focus the top 100 channels on YouTube in each country. The unit of analysis is one channel/user/profile that has uploaded several videos. The ranking is based on the total number of views, based on the data collected from Youtubers.me (https://us.youtubers.me), for the month of June 2022. Data for the category “Country” has been collected from each YouTube channel’s information page. As we can see, not all the channels have provided such information in their info section. In actuality, in Sweden we could not get these data about the YouTube channels. In five of the countries not all channels have provided country of origin for their channels, and in one (Italy) one channel has declared two countries of origin. In Bulgaria, Czech Republic and Italy, 100 percent of top-100 channels are from the country. As these data are based on what is stated in the channels themselves, they might not be totally accurate. For example, among the Bulgarian top-100 there are two Russian channels only in Russian, which are claimed to be located in Bulgaria. In this respect, we opted for including these spurious cases, due to the plain fact that they are presented to the audiences as Bulgarian – and the same for the other countries. Table S1_2 Frequency of the Number of Subscribers of YouTube Channels The second aspect inspected for the YouTube channels is the “Number of subscribers”. Data has been collected as it is displayed on each channel’s page, and is related to July 2022. 24% of the has more than one million subscribers (24% of the total). Only 1% of the channels collects over than ten million subscribers. The third characteristic is the “Number of subscribers from the country”. That data has been retrieved from HypeAuditor, in August 2022. As we can see on Table S1_3, these data are not available for Bulgaria and Czech Republic, while in the case of Sweden we do not have any data. In all the remaining countries - except Italy – the data are very patchy, and they do not cover all the channels in our focus (we will discuss the major issue of data availability and harmonization in our final policy scooping document). Although the data is incomplete, we can see a clear trend, as that most of the audience is usually from the country of origin of the channels, and particularly so in Germany, Italy, Spain and Turkey; with only Greece showing a different pattern. For the interpretation of this crucial aspect, and its impact on the Europeanization process, see deliverables D3.4-Catalogue of Best Practices and Main Obstacles to Europeanization, and D3.5- Video Data Clustering. 9 The second aspect inspected for the YouTube channels is the “Number of subscribers”. Data has been collected as it is displayed on each channel’s page, and is related to July 2022. 24% of the has more than one million subscribers (24% of the total). Only 1% of the channels collects over than ten million subscribers. The third characteristic is the “Number of subscribers from the country”. That data has been retrieved from HypeAuditor, in August 2022. As we can see on Table S1_3, these data are not available for Bulgaria and Czech Republic, while in the case of Sweden we do not have any data. In all the remaining countries - except Italy – the data are very patchy, and they do not cover all the channels in our focus (we will discuss the major issue of data availability and harmonization in our final policy scooping document). Although the data is incomplete, we can see a clear trend, as that most of the audience is usually from the country of origin of the channels, and particularly so in Germany, Italy, Spain and Turkey; with only Greece showing a different pattern. For the interpretation of this crucial aspect, and its impact on the Europeanization process, see deliverables D3.4-Catalogue of Best Practices and Main Obstacles to Europeanization, and D3.5- Video Data Clustering. Table S1_3: Frequency of YouTube subscribers from the country The data for the average views per video on YouTube channels, in its turn, has been retrieved in the HypeAuditor platform, in August 2022. We have data for nine of the countries in the project. If we compare the average views per channels in all the countries, we see that the highest average percentage is 35%, for the 100K+ to 1M views per video cluster. Then we have the channels with average views per video between 10K+ and 50K - 25%. The lowest average percentage per average views is 10% for average views above 1M. Once again, we have signal the lack of reliable, and comparable data, especially for Bulgaria, Czech Republic and Sweden, and partially for Portugal. 10 Table S1_4: Frequency of Average views per video on YouTube channels The fifth characteristic observed is the “Total views of the channel”. This information has been retrieved from Youtubers.me in July 2022. By and large, a relative majority of the channels is included in the interval between 100 million and 250 million views (32% overall). Table S1_5: Frequency of Total views of the channel on YouTube 11 As of January 2023, the YouTube Channel with most views is the musical channel T-Series from India, with exactly 216,181,841,141 views4 . On the other hand, only 17 channels from Germany are above 3 billion views, which is a small data, when compared to the global scale of YouTube. Table S1_6: Frequency of Language on YouTube channels 4 https://www.youtube.com/@tseries/about - 19.02.2023) 12 Let us now take into account the language of the channel, as collected in the YouTube channels’ “description” section. Greece is the only country with just 100 mentioned languages for 100 channels. In six countries, more than 100 languages are mentioned – ranging from 103 in Belgium and Italy, to 121 in Czech Republic. In Turkey and Sweden data for languages is available for less than 100 channels – exactly, 98 in Sweden and 86 in Turkey. Quite surprisingly, English language is dominant only in two of the countries: Belgium (60,19%) and Sweden (70%). In other words, the top channels in those countries may be more oriented towards a global audience than to the local one. The highest percentage of National language on YouTube channels is in Spain and Turkey, in both cases with 98% of the total. At the very opposite, only half of the most popular channels in Germany (49,56%) does use English. In all countries, English is the second most used language apart from Turkey, where English and Arabic both account for 1% of the total, whilst all the other channels are in Turkish. French and Dutch are both used in 15% of the channels in Belgium, logically due to the bilingual structure of the country. We know that overall, according to Internet World Stats, as of March 2020 the most used language on Internet is still English - with an Internet penetration rate of 77.5 %. 5 The second most-used language online is Spanish, with a penetration of 70,4%. That is to say, when it comes to reaching out the global audiences, the YouTube channels probably use English and Spanish. A last, albeit relevant aspect, is the genre of the most popular channels. We both referred to the content category, as defined by the channel itself, and the genre, which was manually coded by the researchers. After the initial pre-testing, and based on that, we built a taxonomy including eleven categories: practically speaking, we used a Yes/No matrix, with more than one category being possible for each channel. The eleven categories are: Self and Private Life; Challenges, Experiments and Tricks; Parodies and Funny Videos; Games; Music; Creative 5 Internet World Users by Language, retrieved at: https://www.internetworldstats.com/stats7.htm, 19.02.2023. 13 practices and performances; Sports; News and Political Contents; Fashion, Beauty and Makeup; Food, Travel and Nature. Table S1_7 showcases the results of this observation. Italy (200), Spain (168) and Czech Republic (161) have a very high number of categories per channel. As it is a t the global level of YouTube audiences, Music is the most popular kind of content on YouTube. Greece (10) and Germany (9) are the countries with the highest number of YouTube channels in the category of News and Political Content, which overall is not relevant, at least at the level of the topinfluential channels. Table S1_7: Frequency of content categories of YouTube channels 14 As to the genre, on a global scale the top-watched by YouTube users is comedy (77% users), while a notable 72% of people used YouTube to consume fitness contents in 2020. At the same time, 20% of the top 100 searches on YouTube are related to music.6 6 YouTube User Statistics 2023, https://www.globalmediainsight.com/blog/youtube-users-statistics/, 19.02.2023 15 2.2 TikTok Data about the top 100 TikTok accounts for each country was retrieved from HypeAuditor. As to the methodology, we refer directly to the information provided by the agency: How we calculate the Top Rankings: We analysed a vast number of TikTok users and ranked them by the number of real followers and authentic engagement (number of likes and comments that come from real people and influencers).7 The only country for which HypeAuditor data are not available is Bulgaria. In this case, the list of the top 94 TikTok channels has been provided by the Bulgarian office of TalentMedia, a network of companies offering services in the field of influencer marketing in the Central and Eastern European region. As to the popularity of TikTok, the table below provides an overview on it use in the countries represented in the project. Table S1_8: Which of the following online social media or online plarforms have you used in the last 7 days? [multiple answers possible] In just a few short years, TikTok has attracted over 150 million people across Europe, if we consider the monthly visitors 8 in the following 32 countries: Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, Switzerland and the UK. The only missing country in the list is Turkey. More information on how our country Rankings work, https://help.hypeauditor.com/en/articles/2385922-howdoes-country-ranking-work, July 2022. 8 TikTok Newsroom - https://newsroom.tiktok.com/en-gb/investing-in-europe, 20.02.2023. 7 16 Worldwide, in 2023 TikTok reached 834.3 million monthly users 3, according to the Insider Intelligence’s forecast, which makes it the third largest social platform among the major five services (Facebook, Instagram, TikTok, Snapchat, and Twitter). TikTok’s ascent to global phenomenon has been incredibly quick, as it more than doubled its worldwide users base in two years, between 2019 and 2021 (growing from 291.4 million to 655.9 million). By 2025, it is expected to reach 1 billion users.9 On February 17, 2023, TikTok reported an average of 125 million monthly active users in the European Union, between August 2022 and January 202310, so that the company is planning to open two more data centers in Europe. According to the Statista data, three of the countries involved in our research are included in the Top 20 with the largest TikTok audience, as of January 2023. The three countries are: - Turkey with 29,86 million (9th overall); - Germany with 20,65 million (15th overall); - Italy with 17,15 million (19th overall). According to the Media & News 2022 Eurobarometer survey, Facebook and WhatsApp are the most commonly used online social media platforms, whilst Instagram, TikTok and Snapchat are particularly popular common among the 15–24-year-old. 11 In terms of daily use – technically, as a reply to the question: “Which of the following online social media or online platforms have you used in the last 7 days?” - TikTok ranks number seven with 17% of the total, with the percentage raising to 49 percent in the 15-24 age group.12 On table S1_8, we can see that the use of TikTok in the considered countries is close to the EU27 average, for both YouTube and TikTok. A major difference stands out in the case of Instagram, which is overall less popular in EU27, than it is in the considered countries. 9 TikTok users worldwide (2020-2025), Insider Intelligence, https://www.insiderintelligence.com/charts/globaltiktok-user-stats/, 20.02.2023 10 Reuters, TikTok is planning two more data centers in Europe, https://edition.cnn.com/2023/02/17/tech/tiktok-data-centers-europe/index.html, 20.02.2023 11 Media & News 2022 Eurobarometer, EB-ID: FL011EP | Fieldwork: 26/04/2022 -11/05/2022 | Conducted by Ipsos European Public Affairs, https://europa.eu/eurobarometer/surveys/detail/2832, p. 29, 20.02.2023 12 Media & News 2022 Eurobarometer, EB-ID: FL011EP | Fieldwork: 26/04/2022 -11/05/2022 | Conducted by Ipsos European Public Affairs, https://europa.eu/eurobarometer/surveys/detail/2832, p. 30, 20.02.2023 17 Table S1_9 shows the breakdown of the most-popular TikTok channels by the country of origin. We collected data about 100 channels in each country, with the exception of Bulgaria – where we only have 94 – and that of Italy, for which we a have a bigger dataset (349 channels). In this case too, the data were provided by HypeAuditor. The main finding is that in six cases 100% of the top-channels are national. All in all, additionally, there are few cases of channels from non-national countries – the only nation not included in the project is USA, with a paltry 2% of the total. Table S1_9: Frequency table of the country of origin TikTok Channels As we can see in table S1_10, the highest percentage of channels (29%) have less than 250,000 followers; and 19% of them is in the 250-500,000 interval. A significant percentage of channels, 64% of the total, are below the threshold of one million followers, whereas only 1% of the channels - all from Germany – have more than ten million followers. Overall, the Italian TikToker Khaby Lame is officially the most popular account, with 154.9 million followers, followed by Charli D’Amelio – an American media personality - with 149.9 18 million. On the third place is Bella Poarch, an American-Filipino star, who launched her TikTok account in April 2020, and now has 92.9 million followers.13 Among the top 20 most followed channels on TikTok, besided Khaby Lame, there is only one TikToker coming from the ten countries in the project: Burak Özdemir from Turkey, which ranks number nine globally, with 69,6 million followers.14 TABLE S1_10 Frequency Table of the Number of followers TikTok Channels Globally, an average of 95 minutes was spent on TikTok per day, in the last quarter of 2022. This is nearly twice as much as on Instagram (51 daily minutes on average).15 YouTube saw the second highest average daily of consuming in 2022, with 74 minutes.16 13 Thompson-Powell, Ava, Top 20 most followed TikTok accounts: Charli D’Amelio, Addison Rae, more, https://www.dexerto.com/entertainment/top-20-most-followed-tiktok-accounts-loren-gray-charli-dameliomore-1326252/#most-followed-tiktok-accounts, 20.02.2023 14 Thompson-Powell, Ava, Top 20 most followed TikTok accounts: Charli D’Amelio, Addison Rae, more, https://www.dexerto.com/entertainment/top-20-most-followed-tiktok-accounts-loren-gray-charli-dameliomore-1326252/#top-20-tiktok-accounts, 20.02.2023 15 Chan, Stephanie, Nearly One-Third of TikTok’s Installed Base Uses the App Every Day, https://sensortower.com/blog/tiktok-power-user-curve, 20.02.2023 16 Chan, Stephanie, Nearly One-Third of TikTok’s Installed Base Uses the App Every Day, https://sensortower.com/blog/tiktok-power-user-curve, 20.02.2023 19 Table S1_11 % of Average views per video on TikTok At the global scale, in 2022 TikTok’s engagement rate by video views records an average of 6.72%,17 while its average watch rate is 16.23%.18 As to our sample of countries, in Spain 69% of the channels have an average number of views per video between 100,000 and one million. Four countries have between 50 and 54% percentage - Greece and Turkey (100K-1М), Bulgaria - 10K - 50K and Germany with the highest average views with highest percentage - 500K - 1M. The percentages for 500K - 1M for Germany (50%) and for Italy (14,89%) and 100K-500K for Italy (40,78) is part of the broader range between 100,000 and one million. That allows us to conclude that all countries have channels in the range - 100K-1M. Only for Bulgaria, Czech Republic and Portugal this range is not the highest for average views per video on TikTok channels. As to the languages of the considered channels (table S1_12), the most mentioned one is English, which is used in all the countries. The highest percentage of English language is in Germany (40%) and Belgium (39,09). On the other hand, lower percentages of the English language are evident in the most-popular channels in Bulgaria (11%) and Spain (10,3%). At the same time, Spanish is the second most popular language in TikTok channels, and in all the 17 18 Cucu, Elena, TikTok Benchmarks, https://www.socialinsider.io/blog/tiktok-benchmarks/#1, 20.02.2023 Cucu, Elena, TikTok Benchmarks, https://www.socialinsider.io/blog/tiktok-benchmarks/#1, 20.02.2023 20 considered countries we find channels in Spanish. National language is more commonly used in popular accounts in Bulgaria, Greece, Italy and Spain. Table S1_12 Language of the TikTok Channels in the countries 21 It has been observed that the “six Best Types of Videos to Make on TikTok”19, for reaching out a wide audience and engage the followers, would be: Videos Based on Trending Sounds; TikTok Challenges; Videos Based on Trending Hashtags; Influencer Collaboration Videos; LipSyncing Videos; and Tutorials. Going back to our taxonomy (already described in the YouTube section of the report), in the countries of the project the two most popular content categories are Parodies and Funny Videos, with an average of 26,04%, and Self and Private Life, with 21,23%. Parodies and Funny Videos is the top category in five of the countries - Belgium, Czech Republic, Greece, Italy, and Sweden. In two countries - Bulgaria and Portugal - the top content category is Self and Private Life. In Spain and Turkey, the top category is that of Challenge, Experiments and Tricks. Only in Germany the top content category is Creative practices and performances. Table S1_13 Frequency of content categories TikTok 19 6 Best Types of Videos to Make on TikTok, https://zubtitle.com/blog/6-best-types-of-videos-to-make-on-tiktok, 20.02.2023 22 We may also notice that there are no channels about Games in the top-followed list in Belgium, Portugal and Turkey, exactly as Creative practices and performances is not present in Belgium, and News and Political Contents is not present in Greece. Not surprisingly, f given the specific affordances of the platform, News and Political Contents is the popular category, at least at this level of scale and observation. In conclusion, it makes sense to recall that TikTok was the first non-Meta app to reach 3 billion worldwide installs, in 2021.20 After securing the top downloads spot in 2021, TikTok achieved the same success in 2022, as it is top downloaded app, with 672 million downloads.21 As to the reasons behind the success of TikTok, three things easily come to mind. Firstly, TikTok valorizes the format more likely to generate engagement in social network sites, that of the short videos. Secondly, TikTok offers a big variety of content, that the users can download and share; and finally, a network effect has been possibly produced by its wide-scale use for branding and marketing, as TikiTok is considered to be a real game changer in this field.22 20 Chan, Stephanie, TikTok Becomes the First Non-Facebook Mobile App to Reach 3 Billion Downloads Globally, https://sensortower.com/blog/tiktok-downloads-3-billion, 20.02.2023 21 Walbank, Josephine, Top 10 most downloaded mobile apps of 2022, https://mobile-magazine.com/articles/top10-most-downloaded-mobile-apps-of-2022, 20.02.2023 22 3 reasons why TikTok has been a success, https://www.blu-digital.co.uk/blog/3-reasons-why-tiktok-has-beena-success#:~:text=One%20of%20the%20main%20reasons,when%20scrolling%20across%20the%20timeline., 20.02.2023 23 2.3 Instagram The Media & News Survey 202223, commissioned by the European Parliament, reveals that Instagram is the most popular social media platform in Europe among 15–24-year-olds, with this group accounting for 79% of the overall users. This finding indicates that young Europeans utilize Instagram to stay up to date with their friends and family, as well as with current events happening around them. For the purposes of our study – and similarly to the previous cases we analyzed the lists of the top 100 Instagram accounts for each country represented in the consortium. Due to the limited availability of the information, in three cases – Belgium, Turkey and Portugal – we had to work on a limited number of accounts, respectively 89, 98 and 99. On the other hand, we have coded the top 445 accounts in the case of Italy. The data were collected from HypeAuditor for nine of the ten countries, and in the case of Bulgaria from Starngage. The majority of the mostly viewed accounts, bases on our dataset, are from the Countries of origin, ranging from 60% in Turkey to 97.75% in Belgium. However, there are three exceptions: Germany (19%), Spain (20%), and Italy (46.5%). Adding the presence of other European countries in the sample, we are able to conclude that the top-100 Instagram ranking is dominated by European content. All in all, the popular accounts come from 64 different countries (with some double listing, at the practical level, due to different spelling of a few countries, such as Egypt and Brazil). Besides the nations represented in the EUMEPLAT consortium, USA (163), UK (45) and France (33) are the most frequent. In Table S1_14 we provide the complete break-down by nationality of the most popular channels in Belgium, Bulgaria, Czech Republic, Germany, Greece, Italy, Portugal, Spain, Sweden, and Turkey. Table S1_14: Frequency of the Country of origin on Instagram 23 https://webgate.ec.europa.eu/ebsm/api/public/deliverable/download?doc=true&deliverableId=82684 24 25 26 As to the number of followers, data were available for nine of the ten countries, with a total sample of 1.243 accounts taken into exam. Not surprisingly, in the nations where a poorly diffused language is spoken, the top-influential accounts reveal a low figure, in terms of followers (as in Bulgaria). In a more general stance, conversely, however more than half (698) of the accounts have more than one million followers, and Germany stands out, with 15 accounts followed by more than 30 million users. Table S1_15: Frequency of the number of followers on Instagram 27 In the case of the local followers too, we could find information about nine countries, out of the ten, with a total sample of 1,203 accounts. Out of these, 415 have more than one million followers, with Italy, Turkey, Spain, and Germany topping this statistic category. Table S1_16: Frequency of Followers from the own country on Instagram The engagement of the audience varies from country to country, as shown in the Table S1_17. Table S1_17: Frequency of Average Engagement on Instagram 28 In all cases, apart from Turkey, we could also collect data about the used languages. If we take together the 1,611 observed accounts, 26 different languages are represented, and 13 of them are by-lingual (in all cases, English-Swedish channels in Sweden). The English language accounts for 46% of the total, it being used in 737 accounts. Here we can clearly see a major divide between the countries with a high percentage of contents in their national language – Portugal (68%), Bulgaria (56.3%) and Greece (52.9%) - and Germany (8.03%), Spain (26.3%) and Italy (33.7%), where much of the content is in English. Table S1_18: Frequency of language on Instagram 29 In Table S1_19, based on a sample of 2,338 accounts, we have synthetized the break-down by content categories, for which we have used the same method and procedure and in the cases of the previous platforms. The leading categories are “Self and Private Life” (916), “Fashion, Beauty and Make-up” (526) and “Sports” (311). Spain differs from other countries as it has a high number of “Games”; whilst in Portugal the “Food” thematic is popular, and “News and Political Contents” hit its minimum level. Table S1_19: Frequency of Content Categories on Instagram 30 In conclusion, we can remark that in 2022 the number of Instagram users in Europe is estimated around 281,3 million, making it one of the most impactful social media platforms in the region. By 2027, it is estimated that the platform will reach around 321 million users in Europe.24 24 Statista, https://www.statista.com/forecasts/1334502/instagram-user-numbers-ineurope#:~:text=In%202022%2C%20Instagram%20user%20numbers,321%20million%20users%20in%20Europe . 22.02.2023 31 3. Section 2 - Country specific VS platform For the purposes of the task 3.2, all partners had to select a fourth and country-specific video sharing platform. In this section we will do an overview of cross-country data analyses. In the country reports Belgium, Italy, Portugal, Spain and Turkey have not selected a fourth platform. 3.1 Germany Based on popularity, the fourth VSP in Germany is Dailymotion. Table S2_1, S2_2 and S2_3 show the related data. Table S2_1: Frequency of the number of followers on Dailymotion in Germany n % less than 1k 44 44.0 1k-3k 32 32.0 3k-1M 15 15.0 1M+ 9 9.0 N 100 100 Table S2_2: Frequency of languages on Dailymotion in Germany Language n % German 21 16.03 English 24 18.32 Arabic 22 16.79 Turkish 17 12.98 Italian 4 3.05 Hindi 2 1.53 Farsi 2 1.53 French 2 1.53 Spanish 2 1.53 Portuguese 1 0.76 32 Polish 1 0.76 Albanian 1 0.76 Bosnian 1 0.76 Russian 1 0.76 Hungarian 1 0.76 Greek 1 0.76 Japanese 1 0.76 n.a. 27 20.61 N (total languages mentioned) 131 100 Table S2_3: Frequency of content categories on Dailymotion in Germany n coded “yes” % Self and Private Life 0 0 Challenge, Experiments and Tricks 1 1.06 Parodies and Funny Videos 6 6.38 Food 1 1.06 Fashion, Beauty and Make-up 1 1.06 Sports 13 13.83 Creative practices and performances 46 48.94 Travel and Nature 1 1.06 News and Political Contents 9 9.57 Music 10 10.64 Games 6 6.38 Total coded 94 100 As it was in the case of YouTube, the German dataset about Dailymotion unravels a specificity: the relevance of channels devoted to Creative practices and performances (48.94%), which is not matched by any other national case. 33 3.2 Sweden The selected additional VSP in Sweden is Twitch, which has been analyzed by using the Streamcharts data (www.streamcharts.com), related to the week 6-12 December 2022. Data are available for the top 50 accounts, with no metrics about likes or comments (which are marked as NA). Very interesting takeaways from the Swedish Twitch dataset is that 49 out of the top 50 channels are about gaming - streamers who livestream when they game - and Counterstrike is the most popular game. There is also space for a discussion forum about football, which is – unlike gaming - an uncommon topic for this platform (Table S2_5). The majority of the streamers are male; however, it has to be noticed that the few women streamers have on average a higher number of followers. Finally, there is a relatively even split between English and Swedish language channels, probably due to English being commonly spoken in the country. Table S2_4: Frequency of languages on Twitch in Sweden n % English 29 58 Swedish 21 42 N (total languages mentioned) 50 100 Table S2_5: Frequency of content categories on Twitch in Sweden n coded “yes” % Sports 1 2 Games 49 98 Total coded 50 100 34 3.3 Greece The Greek research team opted for Dailymotion, as it is the second VSP by popularity in the country, after YouTube. According to the Alexa data, on average the Greek users visit three different pages and stay three minutes on each of it, during a session of use. All the most popular channels are from Greece (100 out 100), thus confirming the relevance of the local video contents, that we have already remarked upon in the previous section of this report. Most of the channels have less than 250,000 subscribers, while there are two channels with 800,000, and three of them are followed by more than a million subscribers. Greek is the language spoken in the majority of channels, with a very few exceptions. Regarding the content categories, Sports is the most popular one (15 channels), followed by Music (14 channels), News and Politics (12 channels) and Parodies and funny videos (12 channels). A popular format in the Greek Dailymotion channels, additionally, is the clippings from old Tv-series and movies (mostly Greek, but also Spanish and Turkish). Table S2_6: Frequency of languages on Dailymotion in Greece Language n % Greek 84 78.5 Cypriot 1 0.1 French 2 0.2 English 14 13.1 Indian 1 0.1 Spanish 3 0.3 Turkish 1 0.1 Portuguese 1 0.1 N (total languages mentioned) 107 100 Table S2_7: Frequency of content categories on Dailymotion in Greece Category n coded “yes” % Parodies and Funny Videos 12 12,4 Fashion, Beauty and Make-up 1 1,03 Sports 15 15,5 Travel and Nature 3 3,09 35 News and Political Contents 12 12,4 Music 14 14,4 Total coded 97 100 3.4 Bulgaria In Bulgaria we have selected a properly national case, that of the Vbox7, the local platform for video sharing. In fact, Vbox7 is a Bulgarian digital video entertainment platform, created at the end of 2006. The site allows users to watch, upload, like and comment on videos, and Tit also offers original video contents, not dissimilarly from the major commercial platforms. As to the most popular vBox7 channels in Bulgaria, the average number of followers is 1,772, and the average number of views per video is 9,492. The predominant language is Bulgarian (49), followed by Turkish (14); and symmetrically, the contents mostly originate in Bulgaria (26 channels) and in Turkey (15 channels). As to the thematic categories, the most watched videos on Vbox7 are about Self and private life. Table S2_8: Frequency table of languages on Vbox7 in Bulgaria Language N % Bulgarian 49 64 Turkish 14 18 Japanese 5 6.5 Korean 4 5 English 3 4 Serbian 1 1.25 Spanish 1 1.25 N (total languages mentioned) 77 100 Table S2_9: Frequency table of content categories on Vbox7 in Bulgaria Category n % Self and Private Life 28 58 Challenge, Experiments and Tricks 2 4 Parodies and Funny Videos 2 4 36 Food 1 2 Sports 3 6 Creative practices and performances 5 10 News and Political Contents 4 8 Music 4 8 Total coded 49 100 3.5 Czech Republic The selected, country-specific VSP in Czech Republic is Twitch. Table S2_10 Platforms in different countries Country BG CZ GR SE 1 Twitch Total 1 1 Dailymotion Vbox7 DE 1 2 2 1 1 Here the Czech language is dominant, as it is used by 81% of the Top100 accounts. The English language is present with 14%, and Slovak with 5% of the Top100 accounts (for the regional pattern of the Czech-Slovakian media, see deliverable D3.4). Table S2_11: Frequency of languages on Twitch in Czech Republic Language n % Czech 96 81 English 17 14 Slovak 5 5 N (total languages mentioned) 118 100 37 When analyzing the contents of the Top100 Twitch accounts, once again we found that the most frequent category is, by far, that of Games (n=96). This would confirm that Twitch is a platform with a specific audience. In terms of relevance, the Games category is followed by Self and Private Life (n=54), and Parodies and Funny Videos (n=45). Table S2_12: Frequency of content categories on Twitch in Czech Republic Category n coded % Self and Private Life 54 24 Challenge, Experiments and Tricks 5 2 Parodies and Funny Videos 45 20 Sports 3 1 Creative practices and performances 10 4,5 Travel and Nature 1 0,5 News and Political Contents 6 3 Music 4 2 Games 96 43 Total 224 100 Half of the countries have no data for 4th platform (have just for YouTube, Instagram and TikTok) – Turkey, Spain, Portugal, Belgium and Italy. The other half of the countries, part of the research, have provided data – Germany, Sweden, Greece, Bulgaria, Czech Republic. From the 5 countries with data two are listing Twitch, two are listing Dailymotion and one – local platform – Vbox7. Regarding the frequency of use of language within 3 of the countries local language is leading, with English languages content on second place – Greece, Bulgaria, Czech, and for 2 countries English language content dominates the local one – Germany and Sweden. Frequency of content categories varies from country to country, and at is stage no common trend could be taken out from the data available for the 4th VSP. For a broader reflection on the tension between the national and the European media pattern, as this report is focused on the empirical data we collected, we can refer to deliverable D3.4. 38 4. Section 3 - EUROVOD - European VS platforms EUROVOD is a network of independent video-on-demand platforms created in 2010 in France and specialized in European and auteur cinema. EUROVOD focuses its work on defending European cultural diversity, by means of a Video à La Carte service. It is a new legal formula for delivering audiovisual contents, so as to better allocate the resources and encourage the production of European films.25 According to the EUROVOD website, in 2021-2022 the organization has 24 core members, one affiliate member, and 10 associated members. TABLE S3_1 shows the countries of origin of all EUROVOD members mentioned on the web site of the organization. TABLE S3_1 Country of origin of EUROVOD Members Country n % France 8 23 The Netherlands 4 11,40 Spain 3 8,50 Germany 2 5,70 Italy 2 5,70 Lithuania 2 5,70 UK 2 5,70 USA 2 5,70 Austria 1 2,86 Belgium 1 2,86 Bulgaria 1 2,86 N/A 1 2,86 Greece 1 2,86 Ireland 1 2,86 Nord Macedonia 1 2,86 Poland 1 2,86 Romania 1 2,86 Sweden 1 2,86 Total 35 100 Source: https://www.eurovod.org/members 25 https://www.eurovod.org/, accessed on 16.02.2022. 39 After collecting the available data about the members of EUROVOD websites, we can say that over 50% of them (18 organizations) offer worldwide content in different forms and formats. Eight of them have a different scope, and they point to the valorization of local or regional films: Austrian, Balkans and European, Bulgarian, Spanish, Serbian, Italian, Lithuanian and European, Lithuanian, European and American, or Nordic. One of the platforms declared that it unites more than one hundred independent TV providers, which collaborate to always bring fresh content. As for the categories of the video contents, only seven platforms offer all the categories listed out by EUROVOD. The detailed data is shown in Table S3_2. Table S3_2 Categories of content of EUROVOD Members 1 20th century movies 2 Art, historical, music and cultural documentaries 3 Channel by and for the gay 4 Channel for the gay- and openminded 5 Classical music industry 6 Documentaries 7 Documentaries about the key figures in Italian culture 8 European and American movies 9 European cinema 10 European independent cinema 11 Independent and arthouse cinema 12 Independent documentaries 13 Nordic films 14 Stream Independant films 15 Streaming movies from Big screen 16 The Francophone platform to stream documentaries. 17 Theater, comedy, opera, ballet, folcklor, comedy Source: Web sites of EUROVOD Members 40 As to the business model, twenty-five of these organizations offer for-pay contents. The prices vary from case to case, ranging is from 1.99 euro to 8 euros per movie. In any case, most of these platforms have a for-free catalogue, or at least they offer a free trial. Sixteen of the organizations were established between 2011 and 2020, fifteen between 2000 and 2010, and four between 2021 and 2022. As it is in the case of commercial platforms (see D3.4), catalogues are quite variable in size, ranging from 300 titles to 10,000 titles. The information about the languages on which the movies are available is accessible for all 34 members, except one (whose website in under construction, so that we can collect any information) Nearly 60% of the platforms offer films on English, and nine of them only offer English contents. There are local platforms which offer local content in national languages: Bulgarian, Lithuanian, Polish, Dutch, Romanian, Shqip, Macedonian, Serbian and Greek. The rest of the platforms offer content in the major languages, and namely English, French, German, Italian, Spanish and Russian. It should be noted that ten of the platforms are supported by Creative Europe – The MEDIA Programme of the European Union. Four of them have been supported by both Creative Europe and The Centre national du cinéma et de l'image animée; and one is supported by the Lithuanian Council for Culture. KinoFONDA is a project of the Audiovisual Copyright Association AVAKA, and the organization is approved by Lithuanian Ministry of Culture as collective right society. There is one organization with a focus on Austrian movies and one with focus on Balkan and European movies. There is finally a platform with focuses on films from 20th century. TABLE S3_3 Number of offered films on Eurovod member platforms N of films over 10 000 films N of platforms 3 Over 7000 films 2 Over 5000 films 1 Over 3000 films 1 Over 1400 films 1 Over 1000 films 7 Less than 1000 7 Total 22 Source: Web sites of EUROVOD Members Data for the traffic on the platforms are available for 25 platforms, which makes the 71% of EUROVOD members. Only one (https://www.filmin.es/) registers more than 2,6 million visits 41 on the web site. In the remaining cases, they are mostly niche platforms, with smaller number of accesses. Data about the nationality of the users, finally, is only available for eleven of the EUROVODaffiliated platforms. The countries from which there were visits on those platforms are 33 in total, with a few names standing out, which refer to non-European countries: Canada, Mexico, Argentina, Malaysia, India, and Russia. TABLE S3_4 Total visits per web site Numer of visits Number of platforms 2.6M 1 322.9K - 304.5K 2 243.3K - 227.8K 2 112,1K - 173,1K 2 85,9K - 78K 2 71,8K - 52,4K 2 < 50K 14 Total 25 Data about the traffic of the site from FEBRUARY 2022 The fact that EUROVOD is not so popular per se, as an “umbrella” organization for European video platforms is not a big problem, due to its professional, rather than institutional nature. On the other hand, the European contents delivered by its partners are not properly popular: as with big streaming platforms, a better strategy for communication, storytelling and marketing of the content is probably necessary for the promotion of European works. 42 5. Section 4 - The top movies on three video-on-demand platforms The global video streaming market size was estimated at USD 375.1 billion in 2021, and it is expected to hit around USD 1,721.4 billion by 2030, with a registered CAGR of 18.45% from 2022 to 2030.26 An important fact, which has to be taken in mind in the future, is that the smartphones and tablets sector generated the most revenue in 2021.27 Young generations are watching content on their mobile devices, which is a totally different behavior from previous generations. Global media players, mostly from the US, expanded their services into the old continent’in 2020 and 2021, and plan to continue doing so in the future – searching for growth as their home market becomes saturated (consider, for instance the launch of Disney+ in CEE, and the planned expansion of HBO Max, SkyShowtime, Paramount+ in Europe in 2022 and 2023).28 Four players - Netflix, Amazon, Apple and Disney accounted -for 72% of all SVOD subscriptions in Europe in 2020, while 40 players made up 28% of all subscriptions.29 According to the Digital TV Europe data, Netflix will remain the largest SVOD player in the near future, and will add 20 million subscribers and reach 74 million users by 2026.30 This notwithstanding, table S4_1 suggests the fact that the dominance of Netflix in Europe is shrinking. Following different data for the ranking of platforms the decision that all countries shrinking. Following different data for the ranking of platforms the decision that all countries will analyze Netflix is based on relevant data. 26 Video Streaming Market Size, Trends, Growth, Report 2030, https://www.precedenceresearch.com/videostreaming-market, 14.02.2023 27 Video Streaming Market Size, Trends, Growth, Report 2030, https://www.precedenceresearch.com/videostreaming-market, 14.02.2023 28 YEARBOOK 2021/2022 KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p.48 29 YEARBOOK 2021/2022 KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p.49 30 Easton, Jonathan, Netflix to remain top dog in Europe, but market share is shrinking, Digital TV Europe, 15th April 2021, https://www.digitaltveurope.com/2021/04/15/netflix-to-remain-top-dog-in-europe-but-marketshare-is-shrinking/, 14.02.2023 43 Table S4_1: SVOD subscribers by platforms (000) Source: Digital TV Europe The data about top ten films and TV Shows on Netflix in each of the ten countries was downloaded from the Netflix website - top10.netflix.com. We focused our attention on the top 10 films and TV series for a period of 17 weeks, from November 1, 2021, to 27 February 28, 2022. 5.1 NETFLIX films Before going deep in our country analysis, we will look at the big picture about Netflix in the ten countries. Data about the preferences on Netflix by country/region of origin, extracted from Flixpatrol (table S4_2), shows a slight decline of the North American content watched in none of ten countries observed in our research, which is a clear countertendency, when compared to the general trend. 44 Table S4_2 Watched content on NETFLIX produced in North America N COUNTRY % in 2021 % in 2022 Average % 1 BELGIUM 68,80 66,77 68 2 BULGARIA 76,09 71,92 74 3 CZECH REPUBLIC 66,06 63,51 65 4 GERMANY 70,17 65,87 68 5 GREECE 67,46 64,30 66 6 ITALY 62,59 62,03 62 7 PORTUGAL 61,81 57,22 60 8 SPAIN 54,74 47,98 51 9 SWEDEN 70,29 71,55 71 10 TURKEY 55,01 49,27 52 ALL COUNTRIES 61,32 66,77 64 Source: FLIXPATROL, extracted 01.2023 Only two countries - Spain and Turkey - consumed less North American content than the average for all countries in the platform (we have to signal, here, that in the Flixpatrol data Turkey is monitored as an Asian country). Bulgaria has the highest percentage of North American contents in both 2021 and 2022, and Spain the lowest for the same period. Sweden is the only country with a slight increase in the percentages of American contents. As we can see in all countries - except Spain and Turkey in 2022 – in the last biennium the American contents account for more than 50% of the watched content on Netflix. Comparing the preferences for European contents, we can observe slightly differences among the countries. Bulgaria is the country with the smallest percentage of European content, and Spain the one with the highest. Bulgaria and Turkey are the only two countries below the overall percentage in 2021, and Bulgaria kept the trend also in 2022. In all countries in general, and in nine of the ten countries in our focus, though, the percentage of European content is growing. The only exception is Spain, where during the last two years the percentage of European content was already high, or relatively high. In Italy (32,75) and Czech Republic (32,87) the percentage of European content is above the average for all countries (19,02). 45 Table S4_3 Watched content on NETFLIX produced in EUROPE N 1 2 3 4 5 6 7 8 9 10 COUNTRY BELGIUM BULGARIA CZECH REPUBLIC GERMANY GREECE ITALY PORTUGAL SPAIN SWEDEN TURKEY % in 2021 23,02 9,48 26,73 21,23 24,12 29,68 24,19 34,71 23,18 16,22 % in 2022 27,37 16,09 32,87 28,11 27,75 32,75 27,16 33,18 25,34 21,70 Average % 25 13 30 25 26 31 26 34 24 19 ALL COUNTRIES 17,8 19,02 18 Source: FLIXPATROL, extracted 01.2023 Having in mind that the Netflix catalogue varies from country to country, Turkey (18,32%) is the one leading, for what concerns watching national contents, both in 2021 and 2022. Italy is the country in this ranking, with an average of 9,52%, and Czech Republic is the third one, with 7,63%. The only country with zero percentage – no national contents at all - is Greece, with Bulgaria (0,03%) and Portugal (0,48%) also showing a very low figure. Table S4_4 Watched content on NETFLIX produced from the country 2021-2022 BE BG CZ DE GR IT Q1 2021 0 0 12,4 4,08 0 Q2 2021 1,69 0 4,26 2,7 Q3 2021 1,62 0 0,25 Q4 2021 0,98 0,13 Q1 2022 0,03 Q2 2022 PT ES SE TR 10,08 0,35 11,33 0,99 16,54 0 7,5 0,1 24,99 7,75 16,16 6,89 0 2,94 0 13,49 5,05 6,98 8,05 5,57 0 8,16 3,01 16,49 3,29 15,6 0,12 13,04 2,11 0 12 0,07 12,53 4,82 22,94 2,84 0 7,62 5,12 0 11,53 0,3 19,84 7,37 27,51 Q3 2022 0,53 0 6,36 4,74 0 13,32 0,05 17,42 2,3 27,38 Q4 2022 1,36 0 9,1 8,3 0 10,7 0 12,28 6,57 13,46 Average 1,13 0,03 7,63 4,93 0 9,52 0,48 6,04 4,76 18,32 Source: FLIXPATROL, extracted 01.2023 46 Even though the AVMS directive is in place, which imposes a quota of European movies (see deliverable D1.4 and D3.4), those works do not get often in the top 10 most watched ranking. One of the reasons for that fact, could be the observation that the “European work is, on average, promoted less intensively than a US film”.31 The conclusion is that European films and TV series need a better promotion to attract viewers. In 2022, Netflix invested “massively in new content, commissioning productions in 37 countries outside of the USA”32. The genre breakdown of the top-watched titles on Netflix is shown in Table S4_5. In all countries the top five genres are: Drama, Comedy, Crime, Action, and Thriller. The single most preferred genre in the ten countries is Drama, except for Czech Republic, in which Drama is on the second place, after Comedy. Table S4_5 Watched content on NETFLIX by GENRE ALL BE BG CZ DE GR IT PT ES SE TR Average Drama 1 1 1 2 1 1 1 1 1 1 1 1,1 Comedy 2 2 2 1 2 3 2 2 2 3 2 2,1 Crime 3 3 3 5 3 2 3 3 3 2 3 3,0 Thriller 5 4 4 4 4 4 4 4 4 6 4 4,2 Action 4 7 5 9 5 6 5 5 5 5 5 5,7 Animated 6 6 9 3 7 5 9 8 9 4 7 6,7 Sci-fi 8 5 8 6 6 7 8 10 7 7 6 7,0 Adventure 7 8 6 7 8 9 6 11 6 9 9 7,9 Superhero 9 9 10 10 10 8 7 9 12 10 11 9,6 Documentary 11 10 7 8 12 12 13 6 10 5 13 9,6 Romance 14 12 11 11 13 10 11 7 11 8 10 10,4 Fantasy 10 11 12 9 9 12 10 13 13 11 12 11,2 Horror 13 12 14 13 11 11 12 12 8 13 8 11,4 13 13 12 14 14 14 12 Unscripted Other 12 Source: FLIXPATROL, extracted 01.2023 31 YEARBOOK 2021/2022 KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p.22 32 Abbatescianni, Davide, International co-productions are back on track, reveals the latest Omdia report, Cineuropa, https://cineuropa.org/en/newsdetail/433117/, 14.02.2023 47 In the case of Czech Republic, Greece, and Sweden there is also a preference for Animation; in Belgium, for Sci-Fi films; and in Sweden for Documentary. The less popular genres, among those listed out by Netflix are in general Unscripted, Horror and Fantasy. In 2021, Netflix outstripped other platforms with the launch of 552 titles, for a total of 1,873 hours. In 2022 it has invested $15 billion in new content,33 with 406 new titles made available in the first part of the year.34 This means that Netflix has leading role in producing original content, also resulting in a main impact on people’s selection of the contents. Table S4_6 synthetizes the number of Netflix original productions in the ten countries, over the period 2021-2022: the lowest numbers are 56 in Germany in 2021, and 66 in Italy in 2022; and the highest are both for Portugal respectively 70 and 83. Table S4_6: Watched CONTENT on NETFLIX by PRODUCER NETFLIX All Q1 2021 Q2 2021 Q3 2021 Q4 2021 Q1 2022 Q2 2022 Q3 2022 Q4 2022 Average 2021 Average 2022 BE BG CZ DE GR IT PT ES SE TR Average in the Ten countries 55,4 63,72 57,27 56,96 54,57 63 58,9 70,99 67,1 60,26 61,38 61 53,4 59,62 57,44 65,43 52,17 54,49 60,65 68,47 61,92 60,03 57,83 60 60,6 70,95 61,92 71,88 57,59 62,72 68,38 68,64 78,05 66,2 69,79 71,77 76,04 60,87 74,2 66,3 74,59 76,86 76,51 58,8 74,05 71,82 68,6 78,07 81,3 69,2 83,48 88,31 83,9 71,5 61,1 67,68 67 70,95 70,1 70,56 74,56 71 62,97 80,97 63,97 80,10 70,26 72,85 69,31 73 73,15 69,12 68,67 57,49 75,08 72,93 72,11 65,84 70 83,05 79,37 77,5 65,12 88,28 82,13 80,3 66,42 78 77,95 77,03 81 81,85 80,04 78,74 88,59 73,01 59 66 62 68 56 64 65 70 69 63 65 65 66 78 80 79 73 77 66 83 75 76 70 76 Source: FLIXPATROL, extracted 01.2023 33 Abbatescianni, Davide, International co-productions are back on track, reveals the latest Omdia report, Cineuropa, https://cineuropa.org/en/newsdetail/433117/, 14.02.2023 34 Abbatescianni, Davide, International co-productions are back on track, reveals the latest Omdia report, Cineuropa, https://cineuropa.org/en/newsdetail/433117/, 14.02.2023 48 In all countries, in any case, more than 50% of the watched content is a Netflix production. That is one of the main strong characteristics of Netflix: the platform attracts viewers mainly due to its own content. Although the interest depends on new titles and promotion, it is a fact that Europeans go on Netflix for Netflix productions. TABLE S4_7: Change in consuming NETFLIX CONTENT in 10 countries Change 2022-2021 Netflix Q1 Q2 Q3 Q4 Below 0 0 1 2 0 0,1 - 5 1 0 1 2 5,01 - 10 4 3 1 4 10,01 - 15 2 5 2 1 15,01 above 3 1 4 3 Source: FLIXPATROL, extracted 01.2023 As we can see in Table S4_7, related to the years 2021 and 2022, in three cases we have a marked decrease in watching content produced by Netflix on Netflix, with the number of originals generally growing, in most of the cases above 5 percent. Table S4_8 WATCHED content on Netflix produced by Others % others Number of Q by 10 countries 30-36 7 25-30 14 20-25 23 15-20 19 10-14 14 7-10 3 Source: FLIXPATROL, extracted 01.2023 Let us focus now on the other producers of the contents delivered by Netflix. The only European producer, based on Flixpatrol data, is Canal+: due to the partnership between Netflix and CANAL+ Group and Netflix announced in 2019, under which the Netflix service were 49 included in CANAL+ bundles35. The deal is being viewed as a mutually beneficial move by media pundits in France.36 In TABLE S4_9, we show the percentage of Canal+ contents, as watched on Netflix in the different countries. As we can easily observe, the percentage is thin and in none of the countries is over 1 percent of the total, suggesting the hypothesis that the commercial alliance between European cultural industries and major platforms should be carefully planned. Table S4_9: CANAL+ watched content on NETFLIX by 10 countries Canal Plus 2021 Q1 Q1 All BG 0,2 - Q1 Q1 GR IT 0,06 0,0 4 0,04 0,23 - Q1 PT - Q1 Q2 TR All 0,19 0,1 2022 - 0,27 0,14 0,1 Q2 Q2 Q2 Q3 BE DE PT All 0,68 0,63 0,02 0,1 Q4 All 0,1 Q4 IT - - 0 0,03 - - 0 Source: FLIXPATROL, extracted 01.2023 The European market currently represents a large proportion of the Netflix revenue, with as much as 36% of the population subscribing in some countries.37 According to the EuroNews38 related to April 2022, Sweden is the country – among the ten we considered - with the highest percentage of Netflix subscriptions. At the bottom is Bulgaria with only 2,48% of the population. Between 15 and 17% of the Swedish population, in the other way, uses to pay for 35 CANAL+ GROUP AND NETFLIX PARTNER TO OFFER THE BEST OF MOVIES AND SERIES, Press Release, https://www.vivendi.com/en/press-release/canal-group-and-netflix-partner-to-offer-the-best-of-movies-andseries/, 14.02.2023 36 Goodfellow, Melanie, Canal Plus Group, Netflix announce partnership in France, ScreenDaily, https://www.screendaily.com/news/canal-plus-group-netflix-announce-partnership-in-france/5142926.article, 14.02.2023 37 Gallagher, Tim, Why are subscription numbers falling for Netflix?, EuroNews, https://www.euronews.com/culture/2022/04/20/user-numbers-still-high-in-europe-as-netflix-announces-fallfor-first-time-in-a-decade, 14.02.2023 38 Gallagher, Tim, Why are subscription numbers falling for Netflix?, EuroNews, https://www.euronews.com/culture/2022/04/20/user-numbers-still-high-in-europe-as-netflix-announces-fallfor-first-time-in-a-decade, 14.02.2023 50 the streaming platform, with Belgium and Germany falling between 12 and 14.5%. Meanwhile, Bulgaria polling at under 2.5% usage.39 Table S4_10 Percentage of population with a Netflix subscription/Source: EuroNews 17 Sweden 14 Belgium 13 Germany 10 Spain 7 Portugal 6 Italy 5 Greece 4 Czech Republic 4 Turkey Bulgaria 0,00 2 4,50 9,00 13,50 The latest figures about the Netflix’s earnings reveal that in the final quarter of 2022, the company had 76.73 million paying subscribers in Europe, the Middle East and Africa (EMEA), compared to 74.3 million in the U.S. and Canada (UCAN).40 In the years, Netflix has invested in localizing its content for non-American viewers and now has a tailor-made library for each market, including a growing volume of non-English titles. Seven of the platform’s top ten most popular non-English films ever were released in 2022, and each one of them was produced in Europe, further emphasizing the contemporary significance of the EMEA market for the company.41 In our analysis, we also looked at the top 10 films on Netflix in each of the ten countries, for a period of 17 week, from November 1, 2021, to February 27, 2022. In that period the number of 39 Gallagher, Tim, Why are subscription numbers falling for Netflix?, EuroNews, https://www.euronews.com/culture/2022/04/20/user-numbers-still-high-in-europe-as-netflix-announces-fallfor-first-time-in-a-decade, 14.02.2023 40 Streaming No Sure Bet in Europe Despite Netflix EMEA Growth, PYMNTS, https://www.pymnts.com/streaming/2023/streaming-no-sure-bet-in-europe-despite-netflix-emea-growth/, 14.02.2023 41 Streaming No Sure Bet in Europe Despite Netflix EMEA Growth, PYMNTS, https://www.pymnts.com/streaming/2023/streaming-no-sure-bet-in-europe-despite-netflix-emea-growth/, 14.02.2023 51 18,00 films entering the top 10 in the different countries is variable, as it ranges from 65 in Turkey to 103 in Sweden. The average number of films per country is 87. Table S4_11: Number of Netflix Films in the 10 countries N 1 Netflix BE BG CZ DE GR IT PT ES SE TR Total Average N per platform N of count ries 95 78 83 87 100 87 90 103 65 865 87 10 77 Source:Netflix and processed by researchers Out of the 865 films, twenty-two films are ten times in the top ten, which is 6% from all films in the period. The biggest percentage - 64% of films - are just once in top 10, which means that new releasing is the key for attracting audience. Table S4_12 Number of NETFLIX Films without repetitions N of repetitions N of films Total N of films % 10 22 220 6 9 7 63 2 8 9 72 3 7 4 28 1 6 5 30 1 5 8 40 2 4 9 36 3 3 18 54 5 2 48 96 13 1 226 226 64 TOTAL 356 865 100 Source: Netflix and processed by researchers 52 The second group of films are those which are repeated twice in the top-watched list (13% of the total number of the tiles). From data on Table S4_12 we can see that 77% of all films in the period are in top 10 once or twice. On Table S4_13 are all 356 films divided by number of repetitions. Table S4_13 Selected films in 10 countries (n=356) Repeted Title of the film 10 Army of the Dead, Army of Thieves, Back to the Outback, Brazen, Bruised, Don't Look Up, Fistful of Vengeance, Home Team, Love Hard, Mother/ Android, Munich – The Edge of War, Red Notice, Tall Girl 2, Texas Chainsaw Massacre, The Harder They Fall, The Power of the Dog, The Privilege, The Royal Treatment, The Tinder Swindler, The Unforgivable, Through My Window 9 Bigbug, Central Intelligence, Love Tactics, My Best Friend Anne Frank, Spider-Man: Homecoming, The Princess Switch 3:Romancing the Star, Yara 8 A Boy Called Christmas, A California Christmas: City Lights, How I Fell in Love with a Gangster, Hypnotic, Restless, Riverdance: The Animated Adventure, Spoiled Brats, The Croods, Transformers: The Last Knight 7 13 Hours: The Secret Soldiers of Benghazi, Father Christmas Is Back, Jack Reacher: Never Go Back, Single All The Way 6 14 Peaks: Nothing Is Impossible, Downfall: The Case Against Boeing, Mission: Impossible - Fallout, More the Merrier, My Father's Violin 5 1000 Miles From Christmas, Bad Boys for Life, How the Grinch Stole Christmas, Into The Wind, Lulli, Stuck Together, The Amazing Spider-Man, The Amazing Spider-Man 2 4 Amandla, Bloodshoot, Don, Four to Dinner, Jason Bourne, Little Women, The Hand of God, Venom, Vicky and Her Mystery 3 Against The Ice, Jack Reacher, Night Teeth, Perfect Strangers, Run, Scary Movie, Seal Team, Sniper: Assassin's End, Sonic the Hedgehog, Spider-Man: Into the Spider-Verse, The Christmas Chronicles: Part Two, The Lost Daughter, The Meg, The More the Merrier, The Ninth Gate, The Wasteland, The Weekend Away, Trolls 2 300: Rise of an Empire, 7 Prisoners, Adrift, Amina, Angel Has Fallen, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), Blumhouse's Fantasy Island, Cold Blood Legacy, David and the Elves, Death to 2021, Den of Thieves, Dolittle, Don't Kill Me, Fantasy Island, First Daughter, Harry Potter and the Philosopher's Stone, Hotel Transylvania 3: Summer Vacation, It Chapter Two, John Wick: Chapter 3 Parabellum, Joker, Jumanji: The Next Level, Jurassic World: Fallen Kingdom, Just Mercy, One Day, Only Mine, Rabbids Invasion - Mission To Mars, Sicario: Day of the Soldado, Spider-Man, Star Trek Beyond, The Addams Family, The Claus Family 53 Table S4_13 Selected films in 10 countries (n=356) Repeted Title of the film The Equalizer 2, The Good Liar, The Holiday, The Hustle, The Italian Job, The Kill Team, The Magnificent Seven, The Matrix, The Rundown, The Secret Life of Pets 2, The Vow, The Wolf of Wall Street, Trial by Fire, Two, Tyler Perry's A Madea Homecoming, UFO, Uncle Drew 1 1917, 11M: Terror in Madrid, 12 Strong, 47 Ronin, 48 Peaks: Nothing, Is Impossible, 6 Underground, 8 Mile, A Madea Homecoming, A Time to Kill, A Walk Among the Tombstones, Abominable, Addicted, After We Collided, All the Money in the World, American Assassin, American Pie Presents: The Naked Mile, American Reunion, An Unfinished Life, Ancora più bello, Angèle, Anonymously Yours, Aquaman, Around the World in 80 Days, Baby Driver, Bad Teacher, Battleship, Baywatch, Bet on Friendship, Bize Müsaade, Blockers, Blue Lagoon: The Awakening, Blumhouse's Truth or Dare: Extended Director's Cut, Bohemian Rhaosody, Bordertown: Mural Murders, Brawl in Cell Block 99, Brother in Love, Bullet to the Head, Burnt, Charlatan, Closer, Cold Pursuit, Colombiana, Copshop, Corpse Bride, Creed, Creed II, Daddy's Home, Daddy's Home 2, Death Wish, Deep Impact, Die Hochzeit, Doctor Sleep, Don’t Kill Me, Doomsday, Downsizing, Droneman, Dumplin’, Fast & Furious Presents: Hobbs & Shaw, Fatale, Fatman, Fighting with My Family, First Sunday, Future World, G.I. Joe: Retaliation, Gods of Egypt, Going in Style, Gone Girl, Greenland, Grown Ups, Gump – The Dog Who Taught People How to Live, Happiness Is a Bliss, Hard Target 2, Harriet, Harry Potter and the Chamber of Secrets, Harry Potter and the Deathly Hallows: Part 1, Harry Potter and the Goblet of Fire, Harry Potter and the Half-Blood Prince, Harry Potter and the Order of the Phoenix, Harry Potter and the Prisoner of Azkaban, Havel, Hotel Transylvania 2, Hustlers, I Am Mother, I'll Be Home for Christmas, If I Were Rich Man, In a Valley of Violence, Inheritance, Inside Man, Intervenção, It's All About Love, Jackass 3, Jackass 3.5, Jackass 3D, Jarhead 3: The Siege, Joint Custody, Just Short of Perfect, Karel, King Arthur: Legend of the Sword, Knocked Up, L'agenzia dei bugiardi, Lakeview Terrace, Last Christmas, Legally Blonde, Life or Something Like It, Like a Cat on a Highway, Little Italy, Love Actually, Love Me Instead, Luccas Neto em: O Hotel Mágico 2, Ma, Madagascar, Maria (and Everybody Else), Marilyn's Eyes, Master Cheng, Me Before You, Men in Black II, Mi chiamo Francesco Totti, Midway, Mile 22, Moneyball, Mortal Engines, Mothers, Night School, Nightlife, Nobody Sleeps in the Woods Tonight 2, Nocturnal Animals, Ophelia, Orphan, Pacific Rim: Uprising, Parallel Mothers, Passengers, Photocopier, Poveri ma ricchi, Primal, R.I.P.D., Rambo: Last Blood, Recep İvedik 6, Red Dragon, Richie Rich, Room, Scappo a casa, Scoob!, Se son rose, Secret in Their Eyes, Seeking Justice, Serial Cook, Seventh Son, Shadow Country, Shoky & Morthy: Last Big Thing, Silent Companion, Silent Hours, Sissi, Skyscraper, Smurfs: The Lost Village, Sniper: Ghost Shooter, Spider-Man 2, SpiderMan 3, Spider-Man: Far from Home, Stand by Me Doraemon 2, Step Up 2: The Streets, Sun, Hay and a Few Slaps, Sun, Hay, Erotica, Sun, Hay, Strawberries, Sweethearts, Tall Girl, Target Number One, Tears of the Sun, Terminator Salvation, The Accountant, The Best Summer of My Life, The Bone Collector, The Chaos Glass Goes to Cyprus, The Christmas Chronicles, The Claus Family 2, The Commuter, THE CRAZIES, The Dark Tower, The Expendables 3, The First Purge, The Forgotten Battle, The Fortune 54 Table S4_13 Selected films in 10 countries (n=356) Repeted Title of the film Goddess, The Grinch, The Group With No Goals, The Grudge, The Hitman's Bodyguard, The Hunt, The Imitation Game, The Invisibile Thread, The Invisible Man, The Island, The Kindness of Strangers, The Last Witch Hunter, The Laws of the Border, The Lazarus Effect, The Legend of Tarzan, The Legendary Giulia and Other Miracles, The Lego Batman Movie, The Little Stranger, The Lodge, The Lost City of Z, The Loveliest Riddle, The Mask of Zorro, The Night Before, The Notebook, The Patriot, The Pirates: The Last Royal Treasure, The Purge: Election Year, The Silencing, The Tax Collector, The Tomb Raider, The Way Back, The Witches, Tower Heist, Transformers: Age of Extinction, Transformers: Revenge of the Fallen, Underworld: Rise of the Lycans, Upgrade, Valentine's Day, Warcraft, White Boy Rick, Wind River, Winter on Fire: Ukraine's Fight for Freedom, Women's Revenge, Wonder, Wrath of Man, xXx: The Return of XanderCage As we can see, all the top-10 films with 10 occurrences are well-promoted productions all over the world. Four of the best films according to the FlixPatrol ranking – the “TOP Movies on Netflix in 2021” document42 - are listed in the top films in the ten countries: Red Notice (1), Army of the Dead (3), Army of Thieves (5) and The Unforgivable (8). In the same ranking for 202243 we find two films, The Tinder Swindler (1) and Don't Look Up (4). Although we only collected first-hand data for the two-month period between the end of 2021 and the beginning of 2022, we see that six of the 10 most repeated films are in top 10 for the platform for the year. The “trending” labeling of the movies, needless to say, is an invitation to watch what the others are watching on the platform. It is easy and people obviously follow that call to action. The need to capture the audiences outside USA has led the producers to increase the coproductions with more than two countries. In any case, USA is the country of origin of 46% of all films, followed by the UK with 12%. On the third place is France with 6%, followed by China and Canada with 4%. Detailed data is shown in Table S4_14, where we see that USA and UK account for 58% of the produced movies. Interesting fact is that a (old) popular movie comes from a country - Czechoslovakia - which does not exist anymore after the Collapse of Socialism in Eastern Europe in the 90s. 42 43 TOP Movies on Netflix in 2021, https://flixpatrol.com/top10/netflix/world/2021/, 14.02.2023 TOP Movies on Netflix in 2022, https://flixpatrol.com/top10/netflix/world/2022/, 14.02.2023 55 Table S4_14 Netflix Films Country/Countries of origin (n=1362) Country Number % 1 USA 626 46 2 UK 162 12 3 France 77 6 4 China 60 4 5 Canada 56 4 6 Germany 51 4 7 Spain 41 3 8 Italy 35 3 9 Australia 32 2 10 Turkey 23 2 11 Japan 17 1 12 Czech 16 1 13 Poland 16 1 14 Ireland 13 1 15 New Zealand 12 1 16 Brazil 11 1 17 Netherlands 11 1 18 Hong Kong 9 1 19 Malta 7 0,5 20 Morocco 7 0,5 21 Norway 7 0,5 22 South Africa 7 0,5 23 Belgium 6 0,4 24 India 6 0,4 25 Mexico 6 0,4 26 Denmark 5 0,4 56 Table S4_14 Netflix Films Country/Countries of origin (n=1362) Country Number % 27 Iceland 5 0,4 28 South Korea 4 0,3 29 Bulgaria 3 0,2 30 Czechoslovakia 3 0,2 31 Greece 3 0,2 32 Israel 3 0,2 33 Slovakia 3 0,2 34 Sweden 3 0,2 35 Ukraine 3 0,2 36 Finland 2 0,1 37 Nigeria 2 0,1 38 UAE 2 0,1 39 Austria 1 0,07 40 Egypt 1 0,07 41 Hungary 1 0,07 42 Indonesia 1 0,07 43 Lebanon 1 0,07 44 Slovenia 1 0,07 45 Switzerland 1 0,07 1362 100 Source: NETFLIX 57 TABLE S4_15A 27 EU members and other Countries on Netflix Films % Number of countries % of countries Non 27 EU countries 26 58 27 EU countries 19 42 Total 45 100 The non-European countries - which are 42% of all mentioned countries – account for 63% of the productions. On the other hand, the European countries - 58% of the mentioned ones – only produce 37% of the top-watched titles. In this case, we are referring to Europe at large and not to the European Union: which is the more relevant, when one observes that UK productions account for one third of the European total, and for the 12% overall (complete data is displayed in table S4_15). Table S4_15 NONEUROPEAN and EUROPEAN Countries Netflix Films % Number of countries % of countries NON-European 19 42 European 26 58 Total 45 100 The available data shows us that Netflix offers contents in more than 60 languages.44 At the global scale, the most common language is English; followed by Hindi45, which is six times less popular than English. In our sample, based on the data we collected from InternetMovieDataBase (Imbd), 49.9% of the titles are in English, and on the second place is Spanish, with only 8.84%. More than two third of the mentioned languages (45) are mentioned very rarely (45 languages are below the one per cent): in other words, we have a sharp separation between the head and the tail of the distribution curve, which would plainly confirm of the power-law organization of digital networks. Table S4_16 shows all the mentioned languages by number of repetition and as a percentage from all mentioned languages. American Sign language is the only sign language available in the platform. For sure, subtitles Cook, Sam, 50+ Netflix statistics & facts …, Comparitech, https://www.comparitech.com/blog/vpnprivacy/netflix-statistics-factsfigures/#:~:text=Netflix%20offers%20its%20offer%20content%20in%20over%2060%20languages., 14.02.2023 45 Moore, Kasey, Does Netflix Have Too Much Foreign Content?, What's on Netflix, https://www.whats-onnetflix.com/news/does-netflix-have-too-much-foreign-content/, 14.02.2023 44 58 are an option, and they are available in many languages. We have to notice that Latin is mentioned 15 times. Table S4 _16 Mentioned Languages of the Netflix Films (n=1391) N Language N % 1 English 693 49,9 2 Spanish 123 8,84 3 French 103 7,40 4 German 64 4,60 5 Italian 56 4,03 6 Russian 37 2,66 7 Czech 28 2,01 8 Portuguese 28 2,01 9 Turkish 27 1,94 10 Polish 18 1,29 11 Japanese 17 1,22 12 Arabic 16 1,15 13 Dutch 16 1,15 14 Latin 15 1,08 15 Mandarin 15 1,08 16 Indonesian 11 0,79 17 Hungarian 10 0,72 18 Persian 9 0,65 19 Ukrainian 9 0,65 20 American Sign language 7 0,5 21 Greek 7 0,5 22 Chinese 6 0,43 23 Nepali 6 0,43 24 Korean 5 0,36 25 Afrikaans 4 0,29 26 Hindi 4 0,29 59 Table S4 _16 Mentioned Languages of the Netflix Films (n=1391) N Language N % 27 Malay 4 0,29 28 North American Indian 4 0,29 29 Zulu 4 0,29 30 Thai 3 0,22 31 Cantonese 2 0,14 32 Croatian 2 0,14 33 Haitian 2 0,14 34 Hebrew 2 0,14 35 Neapolitan 2 0,14 36 Norwegian 2 0,14 37 Polynesian 2 0,14 38 Romanian 2 0,14 39 Slovak 2 0,14 40 Tamil 2 0,14 41 Urdu 2 0,14 42 Vietnamese 2 0,14 43 Abkhazian 1 0,07 44 Albanian 1 0,07 45 Bable 1 0,07 46 Catalan 1 0,07 47 Danish 1 0,07 48 Dari 1 0,07 49 Estonian 1 0,07 50 Filipino 1 0,07 51 Finnish 1 0,07 52 Maori 1 0,07 53 Samoan 1 0,07 54 Serbo-Croatian 1 0,07 60 Table S4 _16 Mentioned Languages of the Netflix Films (n=1391) N Language N % 55 Somali 1 0,07 56 Shoshoni 1 0,07 57 Tagalog 1 0,07 58 Tupi 1 0,07 59 Turkmen 1 0,07 60 Uzbek 1 0,07 Total 1391 100 Source: IMDb, January, 2023 Interestingly enough, even though Netflix makes its contents available in more than 60 languages, Bulgarian, Greek, and Swedish – the languages of three of the countries we considered – are not included in this list. In the Czech Republic we have the lowest percentage of English: 65% of the titles. The highest quota is in Greece (92%) and Bulgaria (90%); whilst Belgium, Germany and Sweden are between 80 and 89%; Italy, Portugal and Spain between 70 and 79%; and Turkey and Czech Republic below 69%. Table S4_17 English and National language mentioned on Netflix Films 100 75 90 86 92 84 89 78 76 76 68 65 50 25 13 0 24 10 0 17 8 28 0 17 0 Belgium Bulgaria Czech Germany Greece % English Language Italy Portugal Spain Sweden Turkey % National Language The last characteristic we analyzed is the genre, as it is reported by Netflix itself. As one film can be described by more than one Netflix tag, the total number of genres is 1,351. 61 The most popular genre is the comedy (15%), followed by Dramas (11%) and Action movies (9%). It is a fact that the indication of the genre is, by definition, arbitrary: in the case of Netflix, for instance, some movies are only labeled as Action; other as Action & Adventure; other only as Adventure. What is more, a comparison between the platforms is hardly possible, as the same movie can easily belong to different genres according, say, to Netflix and Prime. Table S4_18-1 Netflix Films GENRES Reported by Netflix (n=1351) N GENRE Number % 1 Comedies 207 15 2 Dramas 151 11 3 Action Movies 118 9 4 Thriller Movies 87 6 5 Romantic Movies 81 6 6 Crime movies 77 6 7 Family Movies 65 5 8 Action & Adventure 63 5 9 Sci-Fi Movies 62 5 10 Adventure Movies 46 3 11 Horror Movies 42 3 12 Movies Based on Books 39 3 13 Fantasy 34 3 14 Romantic Comedies 32 2 15 Mystery 28 2 16 Documentary Films 27 2 17 Animation 23 2 18 Westerns 20 1 19 Social Issue Dramas 16 1 20 Biography 13 1 21 Spy Movies 12 1 22 Martial Arts Movies 11 1 23 Sports Movies 11 1 24 Teen Movies 10 1 62 Table S4_18-1 Netflix Films GENRES Reported by Netflix (n=1351) N GENRE Number % 25 Turkish production 10 1 26 LGBTQ Movies 9 1 27 Movies Based on Real Life 9 1 28 Musicals 7 1 29 History 6 0,5 30 Military movies 4 0,3 31 Music 3 0,2 32 Spanish production 3 0,2 33 Superhero 3 0,2 34 Children and family movies 2 0,1 35 Classic movies 2 0,1 36 Epic action 2 0,1 37 Hollywood 20 1 38 True Crime Documentaries 2 0,1 39 Adrenaline Rush 1 0,1 40 Bollywood Movies 1 0,1 41 Dutch production 1 0,1 42 French production 1 0,1 43 German production 1 0,1 44 Hindi-Language 1 0,1 45 Period Drama 1 0,1 46 Revenge 1 0,1 47 Sitcoms 1 0,1 48 Sci-Fi/Drama 1 0,1 49 Supernatural 1 0,1 50 War 1 0,1 1 351 100 63 Netflix, the most popular platform, follows the European AVMS directive, and offers a quota of 30% European content in its catalogue. But that is not enough for attracting viewers for those European movies in the catalogue. USA and UK are on the top of country of origin, either as a single country or in coproduction with other countries. That leads to the domination of English language, and even the absence of movies in local language at all in a few countries: Bulgaria, Greece, and Sweden. The top films on Netflix are usually recent productions, commonly released in the last three years, and they are in most of the cases Netflix originals. The Netflix strategy is to coproduce films with European partners, which is an opportunity for European film companies to get access to Netflix viewers. In such a way, the European content is available in the platform, but the work to attract viewers is still to be done, despite Europeans having access to European films and high-quality films. According to a ranking 46 , 50% of the top-30 list of Netflix catalogue is made in European countries, with the United States just making an appearance in 29th place. We see clear signs, therefore, that Netflix that has some interest in the European market. Some of the most popular TV shows on Netflix in the recent years have been produced by Netflix as well. Among those productions we can quote Italy’s Baby, Germany’s Dark, the French Call my Agent and the Spanish Élite (not to mention the Spanish La casa de papel and the Norwegian SKAM, which will be more closely investigated in deliverable D3.4). The platform is also trying to host Europe's greatest director films on the platform, probably due to the fact that, at both the policy and the public opinion level, the pressure on Netflix to support European filmmaking is growing. In this sense, Swiss voters backed a proposal to make the TV streaming platforms, including Netflix, invest some of their locally generated revenue into the country's film industry47 (see D3.4). Table S4_19: Times spent watching Netflix by country Country Average # of Minutes Watching Films Average # of hours Watching Films Average # of days Watching Films % of Time Spent Watching Movies Sweden 16568 276,13 11,51 22.17 Belgium 13883 231,38 9,64 18.76 Spain 13033 217,22 9,05 17.15 46 Zarycki, Alexis, The Country With The Best Netflix Library is Revealed, v1019, https://v1019.com/2021/09/21/the-country-with-the-best-netflix-library-is-revealed/, 14.02.2023 47 Carbonaro, Giulia, The 11 best European films on Netflix, EuroNews, https://www.euronews.com/culture/2022/06/08/the-11-best-european-films-on-netflix, 14.02.2023 64 Table S4_19: Times spent watching Netflix by country Country Average # of Minutes Watching Films Average # of hours Watching Films Average # of days Watching Films % of Time Spent Watching Movies Italy 12733 212,22 8,84 19.45 Germany 11969 199,48 8,31 18.07 Portugal 10098 168,30 7,01 15.40 Czech Republic 8541 142,35 5,93 20.37 Greece 7672 127,87 5,33 13.07 Turkey 5991 99,85 4,16 15.06 Bulgaria 4253 70,88 2,95 8.79 Source: https://www.comparitech.com/ People all over the world spend time on screens. The agency Comparitech created a table to compare the minutes spent watching Netflix in different countries. On table S4_19 we can see the data about the ten countries represented in the EUMEPLAT project. At the top are Sweden, with over 11 yearly days of watching films, followed by Belgium and Spain.48 Europeans are far away from Peruvians, who have consumed an average of 118,776 minutes of Netflix since they first subscribed. This equates to 1,980 hours, or 82 days – almost the double of the overall average.49 If we are supposed to spend so much of our time on films, there is need to be sure that what we consumed is perfect for our mind and culture. 48 Moody, Rebecca, Which country watches the most Netflix?, Compaitech, https://www.comparitech.com/tvstreaming/netflix-viewing-time-by-country/, 14.02.2023 49 Moody, Rebecca, Which country watches the most Netflix?, Compaitech, https://www.comparitech.com/tvstreaming/netflix-viewing-time-by-country/, 14.02.2023 65 5.2 Disney+ films Disney+ was launched in fall 2019 in the U.S., Canada, and the Netherlands, and it has 161,8 million global subscribers. 50 Beginning in May of 2022, Disney+ added a total of 42 new nations and 11 new territories across the continents of Africa, Europe, and West Asia. Disney+ is an online streaming service that features movies and television shows produced mainly by the branches of the Disney corporation: National Geographic, Star Wars, Marvel, Disney, and Pixar. According to data of the European Audiovisual Observatory, Disney+ has 8% of all subscriptions to OTT SVOD services in Europe in 2020, and in the same year it is one of the major four players (Netflix, Amazon, Apple, Disney) accounted for 72% of all SVOD subscriptions in Europe.51 In five of the countries covered by the EUMEPLAT research, Disney+ is one of the top three platforms, singled out during the project: Belgium, Portugal, Spain, Sweden, and Turkey. Before analyzing the role the of the platform in those countries, we will have a broader look to the Flixpatrol data related to Disney+. In table S4_20 we can see that viewers of the platform have strong preferences for North American content: in all countries, as well as in the countries represented in the EUMEPLAT network. In the case of Bulgaria, Greece, Czech Republic, and Turkey, we have data only for 2022. What the data shows us, in any case, is that Disney+ is a platform in which the North American content takes the lion’s share. Turkey has the smallest North American percentage, but even in this case the quota is 90% of the total. Table S4_20 Watched content on Disney+ produced in North America North America BE % in 2021 Average % 99,08 99,45 BG* 99,95 99,95 CZ* 99,99 99,99 98,58 99,15 99,93 99,93 DE GR* 99,83 % in 2022 99,72 50 Forristal, Lauren, Disney+ reports its first subscriber loss of 2.4M subscribers, plans to lay off 7K employees, TechCrunch, https://techcrunch.com/2023/02/08/disney-q1-2023-earnings/, 15.02.02023 51 YEARBOOK 2021/2022 – KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p. 49 66 Table S4_20 Watched content on Disney+ produced in North America IT 99,07 97,50 98,29 PT 99,71 98,68 99,19 ES 99,62 98,73 99,18 SE 99,68 98,86 99,29 90 90 94,125 95,76 TR* ALL 97,4 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 The European content on Disney+ is basically not watched whatsoever. We can’t say that it is not present at all - as the 30% quota rule is in place - but this is not what people actually select and choice. In table S4_21 we can see that Italy is consuming some European content, although the percentage is very small - 1,71% on average. In all other countries the percentage is less than 1. Table S4_21 Watched content on Disney+ produced in EUROPE % in 2021 BE Average % 0,89 0,52 BG* 0 0 CZ* 0 0 1,09 0,69 0 0 DE 0,16 % in 2022 0,28 GR* IT 0,66 2,76 1,71 PT 0,03 1,23 0,63 ES 0,24 0,82 0,53 SE 0,32 1,02 0,67 0,07 0,07 1,23 0,79 TR* ALL 0,35 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 67 Grounded on the data from tables S4_20 and S4_21, it is logical to expected that the percentage of national movies would be small. The only exception is in fact Turkey, which Flixpatrol considers as an Asian country, in any case. Table S4_22 Watched content on Disney+ produced from the country IT ES SE TR Q1 2021 - 0,51 - - Q1 2022 0,49 - - - Q2 2022 2,56 - 0,16 2,87 Q3 2022 2,58 - 0,16 6,64 Q4 2022 2,61 1,51 - 19,85 1,03 0,25 0,04 9,79 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 Table S4_23 shows the breakdown by genre in the different countries. On Disney+, the Top 5 most watched genres are: Animated, Comedy, Superhero, Drama and Sci-Fi in nearly all countries; apart from Italy and Turkey, where the fifth most popular genre are respectively Action and War. Table S4_23 Disney+ by Genre in all 10 countries ALL BE BG* CZ* DE GR* IT PT ES SE TR* Animated 1 1 1 1 1 1 1 1 1 1 1 Comedy 3 3 2 2 3 2 2 2 2 2 3 Superhero 2 4 4 4 2 4 3 3 3 4 2 Drama 4 2 5 5 4 3 4 4 5 3 4 Sci-fi 5 5 3 3 5 5 8 5 4 5 6 Documentary 9 7 9 7 6 9 6 6 8 7 12 Horror 12 6 11 9 9 12 7 8 6 9 8 Fantasy 6 8 8 8 10 8 9 7 9 11 11 Action 10 12 12 12 8 13 5 9 11 8 7 Unscripted 13 11 7 6 12 7 12 12 12 12 9 68 Table S4_23 Disney+ by Genre in all 10 countries Family 15 14 6 Crime 7 5 10 Adventure 8 10 Romance 11 9 13 Thriller 14 13 15 War Other 10 11 14 10 14 14 14 13 10 7 6 11 10 7 6 13 10 11 10 10 15 14 13 13 13 15 14 11 15 15 15 14 5 11 15 5 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 Nearly half of the content watched on Disney+ is produced by Disney+ or by Walt Disney Pictures. Detailed data is shown on tables S4_24 and S4_25. Table S4_24 Disney Plus CONTENT by PRODUCER Disney+ All BE 23,9 23,97 27,8 BG* CZ* DE GR* IT PT ES SE TR* 24,17 22,66 22,88 19,04 22,71 30,09 29,35 27,44 27,65 29,19 27,52 18,5 7,99 19,94 13,9 19,73 15,2 11,16 20,8 13,55 20,78 15,47 18,99 16,56 14,84 24,1 11,48 21,25 11,14 17,32 16,12 12,79 Q2 2022 30,6 27,39 25,04 31,83 36,63 25,93 29,18 29,04 27,17 23,81 Q3 2022 21,2 18,62 13,31 20,83 16,8 20,97 19,87 22,1 21,83 16,71 20,43 Q4 2022 25,1 21,1 15,62 22,75 18,9 25,25 19,65 Q1 2021 Q2 2021 Q3 2021 Q4 2021 Q1 2022 19,72 39,5 19,08 21,77 18,64 19,67 27,62 27,31 18,7 23,56 19,87 22,31 20 19,05 19,15 24,06 23,58 18,84 Average 2021 Average 2022 19,36 26,47 22,91 25,41 19,95 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 69 In table S4_25, we compare the consumption of Disney contents on Disney+, by taking into account the ten observed countries and the overall global average. Table S4_25 Disney+ CONTENT by PRODUCER Walt Disney Pictures All BE BG* CZ* DE GR* IT PT ES SE TR* 36,4 38,03 38,53 36,62 37,12 39,95 37,44 37 40,15 38,63 38,07 39,45 39,36 38,33 28,7 17,01 16,03 25,84 28,49 26,96 20,25 34 23,99 23,25 30,64 33,81 30,14 34,9 26,32 28,16 31,56 30,26 29,66 26,73 Q2 2022 26,1 16,27 17,77 23,94 12,65 22,56 24,41 20,94 20,88 21,16 20,03 Q3 2022 27,8 20,62 17,28 24,6 13,71 26,02 29,55 24,74 24,44 19,99 14,71 Q4 2022 17,7 14,6 5,56 22,97 11,54 16,8 18,22 15,21 15,42 11,65 12,86 17,6 15,51 16,82 17,73 17,52 15,54 26,63 19,45 25,94 22,78 22,6 Q1 2021 Q2 2021 Q3 2021 Q4 2021 24,7 Q1 2022 Average 2021 Average 2022 15,45 13,54 23,84 16,52 21,79 19,88 15,87 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 As we saw, Disney and Walt Disney Pictures represent nearly half of the watched content on Disney+. A significant part, between 30 and 49 percent, goes to content produced by Others. Detail information about content produced by Others in the eighth quoters for the study period is presented on Table S4_26. Table S4_26 WATCHED content on Disney+ produced by Others (n=60) % others Number of Q by 10 countries 60-69 4 50-59 9 40-49 22 30-39 21 70 Table S4_26 WATCHED content on Disney+ produced by Others (n=60) 25-29 4 60 Source: FlixPatrol extracted 01.2023 * Data available only for Q2, Q3 & Q4 2022 As anticipated, we have more detailed information about the five countries where Disney+ has been selected as a relevant VOD platform: Belgium, Portugal, Spain, Sweden, and Turkey. The average number of films in top10, for the 17-week of the researched period, is 36,8 per country. Compared to the 87 different titles included in the Netflix top-10, for the same period, the number appears relatively small. The total amount of films for the 17-week period is 184. Table S4_27 Number of Films on Disney+ in the 5 countries N 1 Disney+ BE PT ES SE TR Total Average N per platform N of countries 42 48 47 44 3 184 36,8 5 Source: FlixPatrol 43% of the top-watched movies are present in the top-10 list four times in the period; and 29% of them are present only once in the top-10. Table S4_28 Number of Disney+ Films no repetition in 5 countries N of repetitions N of films Total N of films % 4 30 120 43 3 6 18 9 2 13 26 19 1 20 20 29 TOTAL 69 184 100 Source: FlixPatrol On Table S4_29 we list out are all the films for the period in the five countries, scaled by the number of occurrences in the top-10. 71 Table S4_29 Selected films on Disney+ in 5 countries (n=69) REPETITION Title of the films on NETFLIX 4 Antlers, Avengers: Endgame, Avengers: Infinity War, Black Widow, Books of Blood, Ciao Alberto, Coco, Diary of a Wimpy Kid, Encanto, Enchanted, Eternals, Far From the Tree, Free Guy, Hocus Pocus, Home Alone, Home Sweet Home Alone, Jojo Rabbit, Jungle Cruise, Kingsman: The Secret Service, Luca, Marvel Studios' 2021 Disney+ Day Special, Moana, No Exit, Raya and the Last Dragon, Ron's Gone Wrong, Shang-Chi and the Legend of the Ten Rings, The King's Man, The Nightmare Before Christmas, Under the Helmet: The legacy of Boba Fest, Zootopia 3 Cruella, The Last Duel, The Simpsons in Plusaversary, The Wonderful Winter of Mickey Mouse, Underwater, West Side Story 2 A Christmas Carol, Arendelle Castle Yule Log: Cut Paper Edition, ASSEMBLED: The Making of Hawkeye, Gulliver's Travels, Hitman: Agent 47, Home Alone 2: Lost in New York, Independence Day: Resurgence, Kingsman: The Golden Circle, Murder on the Orient Express, Terminator: Dark Fate, The French Dispatch, The Rescue, The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular 1 28 Days Later, Alvin and the Chipmunks, Alvin and the Chipmunks: The Road Chip, Die Hard, Fantastic Mr. Fox, Frozen, Keeping Up with the Joneses, Muppets Haunted Mansion, Pixar 2021 Disney+ Day Special, Scary Movie 4, Spider-Man: Homecoming, Sweet Home Alabama, The Amazing Spider-Man, The Amazing Spider-Man 2, The Day After Tomorrow, The Help, The Night House, The Nutcracker and the Four Realms, The Proposal, The Secret Life of Walter Mitty As to the country of origin of the titles, we find that 76 percent of all content is produced by USA, either alone or in partnership with other countries. On the second place is UK with 14 percent, and all other countries are with less than 2% each. In fact, USA and UK are present as a country of origin in 90 percent of the films. Table S4_30 Disney+ Films Country/Countries of origin (n=242) Country Number % 1 United States 183 75,93 2 United Kingdom 34 14,10 3 Czech Republic 4 1,66 72 Table S4_30 Disney+ Films Country/Countries of origin (n=242) Country Number % 4 Germany 4 1,66 5 Mexico 4 1,66 6 New Zealand 4 1,66 7 Canada 3 1,24 8 Malta 2 0,83 9 Hungary 1 0,42 10 India 1 0,42 11 Spain 1 0,42 Total 241 100 Source: Disney+ As we see, European countries are often involved in the production of Disney+ movies, but their participation is usually in partnership with the USA. The state of the USA-European coproductions, and their externalities in terms of Europeanization, are discussed in deliverables D1.3 and D3.4. Table S4_31 NON-EUROPEAN and EUROPEAN Countries Disney+ Films % Number of countries % of countries NON-European 5 45 European 6 55 Total 11 100 73 TABLE S4_31A 27 EU members and other Countries on Netflix Films % Number of countries % of countries Non 27 EU countries 6 55 27 EU countries 5 45 Total 11 100 On Disney+, English represents less than 50% of the used languages (46.20%), and French, German and Spanish are between 6.8 and 8.06% of the total. After noticing the presence of the Latin language in the catalogue of all VOD platforms, we may notice here that in Disney+ we also have movies in Ancient Greek. American Sign Language, in this case too, is the only sign language available on the platform. Table S4_32 Language of the Disney+ Films (n=397) N Language N of mentions % 1 English 183 46,20 2 French 32 8,06 3 German 29 7,30 4 Spanish 27 6,80 5 Latin 17 4,28 6 Italian 16 4,03 7 Japanese 12 3,02 8 Russian 8 2,01 9 Arabic 7 1,76 10 Mandarin 7 1,76 11 Swedish 6 1,52 12 Finnish 4 1 13 Hungarian 4 1 14 Macedonian 4 1 15 Marathi 4 1 16 Norwegian 4 1 17 Ojibwa 4 1 18 Portuguese 4 1 74 Table S4_32 Language of the Disney+ Films (n=397) N Language N of mentions % 19 Sumerian 4 1 20 Tupi 4 1 21 Xhosa 4 1 22 American Sign Language 3 0,76 23 Ancient Greek 2 0,5 24 Greek 2 0,5 25 Thai 2 0,5 26 Hebrew 1 0,25 27 Icelandic 1 0,25 28 None 2 0,5 397 100 Total per country Source: IMDb, January, 2023 As we can see from table S4_33, Belgium and Spain are the outliers, as in those countries respectively 31 and 13% percent of the Disney+ contents is available in the national language. In Sweden 98% of the content is only accessible in English. Table S4_33 Disney+ Films English and National language 125 100 75 50 25 0 100 100 31 Belgium 100 2 Portugal 13 Spain % English Language 100 98 5 Sweden 0 Turkey % National Language There is no exception about the number one preferred genre on Disney+, which by definition is Animation. Animated movies represent 16% of the most-watched genres, titles on the platform, followed by Comedies and Action. Interesting fact, in Disney+ the percentage of Family movies is 7.22%: which is not high in absolute value, but higher in comparison with the other SVOD platforms. 75 Table S4_34 Disney+ Films GENRES Reported by Disney+ (n=360) Belgium Portugal Spain Sweden 17 Action & Adventure Turkey Total 3 20 Action Movies 13 16 13 42 Adventure Movies 24 2 2 28 Animation 15 14 14 58 15 Anthology 1 1 Buddy 1 1 Crime movies 4 1 3 Comedies 23 17 6 8 6 2 Coming of Age 52 3 5 Documentary Films 2 4 3 4 13 Dramas 8 7 2 4 21 Family Movies 6 20 26 Fantasy 4 15 19 Horror Movies 3 2 1 1 7 Kids 1 1 Music 1 1 Musicals 1 6 7 Mystery 3 2 5 Parody 1 1 Police/Cop 1 1 Romance 3 3 Sci-Fi Movies 4 Short 5 8 3 15 5 Spy Movies 4 Superhero 5 Survival 2 2 2 4 6 117 140 Thriller Movies Total 76 4 3 47 44 12 8 360 It is hardly necessary to remark that the reputation of Walt Disney Pictures plays a major part in the success of the platform of Disney+. On the other hand, that makes even more urgent a reflection on European contents and local languages, as the kids are watching Disney+ more frequently than the adults. What the company publicly states, is that “the service has evolved since its inception”, and now “boasts content that appeals to all generations”, but empirical analyses actually prove the opposite: that Disney+ is still viewed as a more family-friendly streaming service targeting the young viewers 52 . In its attempt to increase its own market share, in 2021 Disney+ launched a new general entertainment brand names “Star”, which is part of the Disney+ offer on Europe. Practically speaking, The family-friendly content is still branded as “Disney+ Originals”, while more mature content, so to speak, is now branded as “Star Originals”.53 The platform is also entering the competitive market with a strategy for producing local content, as Disney+ is planning on commissioning 50 original projects across Europe, by 2024.54 Lamadrid, Amanda, Disney CEO Reveals Ambitious Plans For The Future Of Disney+, ScreenRant, https://screenrant.com/disney-plus-future-plans-interactive-content-d23-2022/, 15.02.2023 53 Over 50 European Disney+ & Star Originals To Be Commissioned By 2024, https://whatsondisneyplus.com/over-50-european-disney-star-originals-to-be-commissioned-by-2024/, 15.02.2023 54 Over 50 European Disney+ & Star Originals To Be Commissioned By 2024, https://whatsondisneyplus.com/over-50-european-disney-star-originals-to-be-commissioned-by-2024/, 15.02.2023 52 77 5.3 HBO films Warner Media's platform HBO Max was launched in the US in May 2020, and as of June 2021 it was available in 39 territories in Latin America and the Caribbean. In October 2021, it arrived in Europe, starting with the Nordics, Spain, and Andorra. Since March 2022 the streaming service is available in 15 European nations – Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Moldova, Montenegro, Netherlands, North Macedonia, Poland, Portugal, Romania, Serbia, Slovakia, and Slovenia – for a total of 61 countries globally.55 The company has plans to launch HBO Max in 190 countries by 2026. The service, owned by AT&T Inc, entered Europe with the launch in the Nordics and in Spain, and with precise promotional offers to grab customers from Netflix Inc and Walt Disney Co's Disney+.56 In some countries, HBO Max video offering is integrated in is the mobile telephone fess, resulting in a better accessibility and a wider diffusion. In July 2022, Warner Bros Discovery announced that the company is tailoring its programming strategy for the streaming service HBO Max in different areas of Europe. The entertainment conglomerate will no longer produce originals for HBO Max in the Nordics, in the Netherlands, Central Europe and Turkey 57 , which is the very opposite, in terms of industrial strategy, from what Netflix and Disney+ are doing in Europe. Table S4_35 Watched content on HBO produced in North America North America % in 2021 % in 2022 Average % BG 87,34 93,88 90,61 CZ 85,34 91,88 88,61 PT 82,36 89,56 85,96 ES 76,49 95,15 85,82 SE 67,10 96,09 81,59 ALL Countries 83,8 83,07 83,43 Source: FLIXPATROL, extracted 01.2023 55 Dziadul, Chris, HBO Max expands to Central and Eastern Europe, BroadbandTV News, https://www.broadbandtvnews.com/2022/03/08/hbo-max-expands-to-central-and-eastern-europe/, 15.02.2023 56 Mukherjee, Supantha, HBO Max to launch in 15 European countries on March 8, Reuters, https://www.reuters.com/business/media-telecom/exclusive-hbo-max-launch-15-european-countries-march-82022-02-01/, 15.02.203 57 Szalai, Georg, HBO Max “Ceasing” Original Programming Efforts in Parts of Europe, The Hollywood Reporter, https://www.hollywoodreporter.com/business/business-news/hbo-max-halts-originals-production-europe1235175293/, 15.02.2023 78 The HBO platforms have been analyzed in detail in five of the countries covered by the EUMEPLAT research (see table S4_35). The percentage of content from North America watched on HBO and HBO Max, in 2021 and 2022, ranges from 67 to 96%. This is a little less comparing to Disney+, and a higher percentage in comparison to Netflix. We have to mark the fact that in 2022 the percentage of North American content has grown in all cases. Sweden is leading by percentage of watched European content on this platform, with an average of nearly 18%. In 2021 all the five considered countries have watched nearly the same percentage of European contents on HBO; and not surprisingly in this respect, if anything, they are above the overall global median. Table S4_36 Watched content on HBO produced in EUROPE EUROPE % in 2021 % in 2022 Average % 11,94 5,93 8,93 14,06 7,89 10,97 16,393 10,01 13,20 21,83 4,42 13,12 32,39 3,48 17,93 12,85 7,30 10,07 BG CZ PT ES SE ALL Countries Source: FLIXPATROL, extracted 01.2023 The percentage of national content watched in HBO and HBO Max is below 1 in four of the five countries, and only in Spain is somehow appreciable (4%). The data shows that the percentage of national content among the top-watched, in the last two quarters of 2022, is zero in all the analyzed countries. Table S4_37 Watched content on HBO produced from the country 2021-2022 From the country BG CZ PT ES SE Q1 2021 1,48 2,49 1,01 23,58 0,41 Q2 2021 3,23 1,01 1,62 3,10 1,99 Q3 2021 0,26 1,59 0,42 3,39 1,22 1,02 1,36 Q4 2021 Q1 2022 0,98 0,29 Q2 2022 0,46 2,17 Q3 2022 79 Table S4_37 Watched content on HBO produced from the country 2021-2022 Q4 2022 Average 0,74 0,83 0,51 4 0,57 Source: FLIXPATROL, extracted 01.2023 The genre preference in all the five countries is in line with the global tendencies. The top 5 movie genres are in fact Comedy, Drama, Fantasy, Animated and Superhero. Compared to the global average, there is no space for War and Family films, which are not popular in the five countries in our focus. Overall, Animated is the fourth most preferred genre, and in its turn, it is not in top-5 list in none of the five countries from project. While the genre preference is quite similar in the five countries, Czech Republic is the only one where Family movies are popular among the HBO audiences. When we focus on the content producers in the case of HBO, we inevitably have to start with the original HBO and HBO Max productions (we recall, here, that HBO has been rebranded as HBO Max during the researched period). Table S4_38 Most Preferred genres on HBO ALL BG CZ PT ES SE Comedy 1 1 1 1 2 1 Drama 2 3 3 3 1 2 Fantasy 3 2 2 2 3 3 Crime 7 4 6 5 5 4 Superhero 5 7 5 4 4 5 Sci-fi 6 5 4 8 6 6 Action 10 6 7 6 9 7 Animated 4 8 8 7 8 9 Horror 9 9 9 9 7 7 Documentary 12 10 10 10 10 8 Thriller 11 11 11 11 11 12 Adventure 13 12 12 12 13 11 Romance 14 13 15 13 12 13 War 17 14 13 14 14 15 Western 16 15 14 15 Unscripted 15 10 14 80 Table S4_38 Most Preferred genres on HBO Family 18 Other 8 16 Source: FLIXPATROL, extracted 01.2023 We clearly can state that the content watched on HBO is mainly produced by HBO or by its owner, Warner Bros Pictures. The aggregated share of the three producers is 44% of all content: precisely, 11.8% for HBO, 4.2% for HBO MAX, and 29% for Warner Bros Pictures. TABLE S4_39 Watched content on HBO produced by HBO and HBO MAX HBO & HBO MAX All HBO Q1 2021 Q2 2021 22,70 22,50 Q3 2021 Q4 2021 Average for 2021 Q1 2022 Q2 2022 Q3 2022 18,60 15,95 24,00 16,00 20,50 51,70 12,93 50,40 47,70 Q4 Average 2022 for 2022 15,13 All HBO MAX 50,60 37,18 BG HBO 10,92 2,73 24,33 13,15 12,69 12,54 7,74 5,37 23,31 13,81 12,69 12,45 10,23 12,09 13,84 9,04 CZ HBO 13,75 PT HBO 11,16 22,35 8,38 28,63 18,78 15,25 15,67 18,99 9,53 10,94 12,92 13,10 21,53 20,61 18,27 13,84 18,56 17,28 10,24 10,90 12,11 12,63 ES HBO SE HBO Source: FLIXPATROL, extracted 01.2023 81 TABLE S4_40 Watched content on HBO produced by Warner Bros. Pictures Warner Bros. Pictures Q1 2021 Q2 2021 Q3 2021 Q4 2021 Average for 2021 Q1 2022 Q2 2022 Q3 2022 Q4 Average 2022 for 2022 All 19,30 15,50 21,90 21,00 19,43 23,80 28,00 24,20 26,00 25,50 BG 24,25 11,73 21,72 20,37 19,52 24,51 38,60 32,60 35,90 32,90 CZ 26,13 10,65 22,34 27,67 21,70 30,93 36,68 32,60 35,95 34,04 PT 11,93 16,27 29,05 33,42 22,67 34,07 38,29 33,65 36,52 35,63 ES 24,32 32,53 24,26 33,97 28,77 27,93 35,77 36,60 36,50 34,20 SE 15,35 34,38 43,14 46,18 34,76 38,07 36,34 39,09 35,91 37,35 Source: FLIXPATROL, extracted 01.2023 HBO spectators also happen to watch some titles produced by the competitor platforms, but in a very small percentage: 0.67% for Netflix, 0.16% in the case of Walt Disney, and 0.16% for Amazon. CANAL+ is the only European brand in the list, but its percentage is 0.005, which is nearly zero, and it appears in one quarter in Sweden (Q4 2021) with 0,26%. TABLE S4_41 WATCHED content on HBO produced by Others (n=40) Range Number of Q by 10 countries 74,14 1 61,70 1 51-56% 8 45-50% 15 41-45% 9 32-40% 5 29,53 1 40 Source: FLIXPATROL, extracted 01.2023 As to the period of observation, we followed the same protocol as before, by selecting the weekly top-10 films in the considered countries, in the same 17-week timespan, and by relying on the FlixPatrol statistics. The average number of films included in the top-10 is 47 per country, which is higher than on Disney+, but nearly half than on Netflix (87 different titles). In Bulgaria we have the biggest number of single movie titles, 66, and in Sweden only 28. 82 TABLE S4_42 Number of Films on HBO in the 5 countries N Platform BG CZ 1 HBO 66 59 PT ES SE Total Average N per platform N of countries 48 34 28 235 5 47 Source: FLIXPATROL, extracted 10.2022 As to the variety of what people watch, it is notable that 63% of the titles only appear once in the in top-10, and only 1% of the films appears five times. TABLE S4_43 Number of HBO Films n. of repetition N of repetitions N of films Total N of films % 5 2 10 1 3 12 36 8 2 44 88 28 1 101 101 63 TOTAL 159 235 100 In table S4_44 we listed all the top-watched films in the five considered, countries in the 17week period, from November 1, 2021, to February 27, 2022. Table S4_44 Selected films on HBO in 10 countries (n=159) REPETITION Title of the films on HBO 5 8-Bit Christmas, Harry Potter 20th Anniversary: Return to Hogwarts 3 And Just Like That… The Documentary, Birds of Prey (and the Fabulous Emancipation of One Harley Quinn), Godzilla vs. Kong, Harry Potter and the Chamber of Secrets, Harry Potter and the Order of the Phoenix, Harry Potter and the Philosopher's Stone, Hotel Transylvania 3: Summer Vacation, Judas and the Black Messiah, Mortal Kombat, Tenet, The Little Things, The Shawshank Redemption 83 Table S4_44 Selected films on HBO in 10 countries (n=159) REPETITION Title of the films on HBO 2 Ammonite, Arrival, Atonement, City of Lies, Cry Macho, Dream Horse, Dune, Eastern Promises, French Exit, Friends: The Reunion, Happiest Season, Harry Potter and the Deathly Hallows: Part 1, Harry Potter and the Goblet of Fire, Harry Potter and the Half-Blood Prince, Harry Potter and the Prisoner of Azkaban, Inception, Interstellar, Just Mercy, Kimi, Kong: Skull Island, Legally Blonde, Monster Hunter, No Sudden Move, Occupation: Rainfall, Pride & Prejudice, Reminiscence, Space Jam: A New Legacy, SPECTRE, Steve Jobs, The Amazing Spider-Man, The Amazing Man 2, The Craft: Legacy, The Fallout, The Ice Road, The Matrix, The Matrix Reloaded, The Matrix Revolutions, The Nest, The Slow Hustle, The Suicide Squad, The Witch, The Witches, The Wolf of Snow Hollow, The World to Come 1 A Little Christmas Charm, Anna, Attack the Block, Bad Santa, Blinded by the Light, Bohemian Rhapsody, Breaking Them Up, Casino Royale, Casper, Cloudy with a Chance of Meatballs, Collateral Beauty, Corpse Bride, Crazy, Stupid, Love, Dhamaka, Disobedience, Divergent, Downsizing, Driven, Elf, Escape From Pretoria, Eternal Sunshine of the Spotless Mind, Everest, Four Hours at the Capitol, Geostorm, Ghost in the Shell, Green Book, Hancock, Harry Potter and the Deathly Hallows: Part 2, Hello Again - A Wedding A Day, Holly Slept Over, Hotel Transylvania, House at the End of the Street, Icahn: The Restless Billionaire, In The Heights, Intolerable Cruelty, Joker, Jupiter Ascending, King Richard, Ladrões de Tuta e Meia, Legally Blonde 2: Red, White & Blonde, Little Fish, London Has Fallen, Machete Kills, Malignant, Mile 22, Monster House, Motherless Brooklyn, Needle in a Timestack, No Country for Old Men, Once Upon a Time in Hollywood, Oslo, Parasite, Paw Patrol: Ready Race Rescue, POKÉMON Detective Pikachu, Princess Cursed in Time, Ready Player One, Reunion, Richard Jewell, Rosie, Say It Loud, Scenes of a Sexual Nature, Scoob!, Se7en, Sin City: A Dame to Kill For, Skyfall, Spider-Man, Spirit: Stallion of the Cimarron, Storks, Strach/An Angel of the Lord, Sully, Tad the Lost Explorer and the Secret of King Midas, The Addams Family, The Angry Birds Movie, The Broken Hearts Gallery, The Crew, The Four Feathers, The Immortal, The Killing of Two Lovers, The Kitchen, The Land of the Sons, The Last Shift, The Lego Movie, The Lord of the Rings: The Return of the King, 1 The Many Saints of Newark, The Matrix Resurrections, The Mule, The Polar Express, The Road, The Way Back, Thelma, There Will Be Blood, Those Who Wish Me Dead, Three Perfect Daughters/È per il tuo bene, Tom and Jerry Santa's Little Helpers, Trolls, Venom, We Own the Night, Where Hands Touch, Wonder Woman 1984, Words on Bathroom Walls, xXx: Return of Xander Cage If we look at the country of origin of the most watched movies, once again the statistics is topped by USA and UK, with respectively 53% and 17% of the total; that is to say, the AmericanBritish industrial complex accounts for 70% of the most-watched content on HBO. On third and fourth place, what is more, there are other two English-speaking countries, Canada and Australia, so that The Anglo-Saxon countries represent 82% of all countries of origin. On the fifth place there is China, with only 2.8% of the total. 84 Table S4_45 HBO Films Country/Countries of origin (n=394) Country Number % 209 53,04 1 United States 2 United Kingdom 67 17 3 Canada 36 9,14 4 Australia 11 2,79 5 China 11 2,80 6 France 9 2,28 7 Germany 7 1,77 8 Ireland 4 1,01 9 Italy 4 1,01 10 South Korea 4 1,01 11 Czech Republic 3 0,76 12 India 3 0,76 13 Japan 3 0,76 14 Mexico 3 0,76 15 South Africa 3 0,76 16 Bulgaria 2 0,5 17 Denmark 2 0,5 18 Norway 2 0,5 19 Russia 2 0,5 20 Bahamas 1 0,25 85 Table S4_45 HBO Films Country/Countries of origin (n=394) Country Number % 21 Finland 1 0,25 22 Hong Kong 1 0,25 23 Iceland 1 0,25 24 New Zealand 1 0,25 25 Portugal 1 0,25 26 Spain 1 0,25 27 Sweden 1 0,25 28 Turkey 1 0,25 394 100 Source: IMDb, January, 2023 European countries count for 57% of the 28 producing countries we have listed, but once again, they are usually involved in partnership with non-European nations; and in particularly with USA, which co-produced, in one way or another, almost all the successful titles. Table S4_46 NON EUROPEAN and EUROPEAN Countries HBO Films % Number of countries % of countries NON European 12 43 European 16 57 Total 28 100 86 TABLE S4_46A 27 EU members and other Countries on HBO films % Number of countries % of countries Non 27 EU countries 17 61 27 EU countries 11 39 Total 28 100 When it comes to the languages, HBO does not differentiate from the other platforms. English is the predominant language, accounting for 50.91 percent of all the mentioned languages. On a secondary note, on HBO we can find not only the American Sign Language, but also the British Sign Language. Table S4_47 Languages of the HBO Films (n=446) N Language N of mentions % 1 English 227 50,91 2 Spanish 30 6,73 3 French 27 6,05 4 Russian 20 4,48 5 Latin 18 4,04 6 Japanese 13 2,91 7 Italian 12 2,69 8 German 11 2,47 9 Mandarin 10 2,24 10 Chinese 7 1,58 11 Ukrainian 7 1,58 12 American Sign language 6 1,35 13 Hindi 5 1,12 14 Norwegian 5 1,12 15 Arabic 4 0,90 16 Portuguese 4 0,90 17 Turkish 4 0,90 18 Vietnamese 4 0,90 87 Table S4_47 Languages of the HBO Films (n=446) N Language N of mentions % 19 Estonian 3 0,68 20 Old English 3 0,68 21 Urdu 3 0,68 22 Czech 2 0,45 23 Hebrew 2 0,45 24 Korean 2 0,45 25 Afrikaans 1 0,22 26 British Sign Language 1 0,22 27 Cantonese 1 0,22 28 Dutch 1 0,22 29 Filipino 1 0,22 30 Greek 1 0,22 31 Indonesian 1 0,22 32 Latvian 1 0,22 33 Malay 1 0,22 34 Neapolitan 1 0,22 35 Quenya 1 0,22 36 Sanskrit 1 0,22 37 Serbian 1 0,22 38 Shanghainese 1 0,22 39 Sindarin 1 0,22 40 Swedish 1 0,22 41 Tagalog 1 0,22 Total 446 100 Source: IMDb, January, 2023 88 With respect to the proportion between English and national language, the situation is not different from other platforms. English language gets over 90% in all countries, and Spanish is with the next highest percentage, 18%. Table S4_48 HBO FILMS English and National language 125 100 75 98 94 94 100 94 50 25 0 2 4 18 0 0 Bulgaria Czech Portugal Spain % English Language Sweden % National Language Interesting fact is that for nearly 74% of all films there is no genre description displayed by the platform, which makes difficult a comparison with the other VOD providers. From the few data we could find, we can say that Action, Drama and Crimes are the most preferred genres on HBO. One of the reasons that could explain this lack of information is that the considered period coincided with the transition from HBO to HBO Max. Table S4_49 HBO Films GENRES Reported by HBO (n=235 ) N GENRE Number % 1 Action Movies 20 8,51 2 Dramas 11 4,69 3 Crime movies 9 3,83 4 Biography 8 3,40 5 Comedies 6 2,55 6 Documentary Films 4 1,70 7 Animation 2 0,85 8 Mystery 2 0,85 9 N/A 173 73,62 89 Table S4_49 HBO Films GENRES Reported by HBO (n=235 ) N GENRE Number % 235 100 Source: HBO, January, 2023 In January 2023, it was announced that the European streaming service SkyShowtime, jointly operated by Comcast and Paramount, acquired the exclusive streaming rights to 21 local HBO Max shows across Europe.58 After HBO MAX became part of Warner Bros’ Discovery, some changes have been made to achieve cost saving. And further changes are still to come, with Warner Bros’ Discovery intending to entirely replace HBO Max, in 2023, with a new service based on the tech stack of Discovery Plus.59 Porter, John, HBO Max offloads European shows to Comcast and Paramount, The Verge, https://www.theverge.com/2023/1/10/23548061/hbo-max-skyshowtime-comcast-paramount-europeanstreaming-wars, 15.02.2023 59 Porter, John, HBO Max offloads European shows to Comcast and Paramount, The Verge, https://www.theverge.com/2023/1/10/23548061/hbo-max-skyshowtime-comcast-paramount-europeanstreaming-wars, 15.02.2023 58 90 5.4 iTunes iTunes was first launched in June 2011 in the United States as a music platform, with Apple adding movies and TV shows for U.S. users in March 2012. Movie coverage has been gradually expanded since that time, with today's additions bringing the total to nearly 100 countries.60 Flixpatrol data about the use of this platform is only available for five of the ten countries covered by the EUMEPLAT activities, and in these countries, iTunes is one of the top three platforms in terms of diffusion. As of February 16, 2023, though, the data shows that iTunes is no longer in the top-3 list in none of these countries. For the goals of our research, we took into exam the already cited observation period, from November 1, 2021, to February 27, 2022. The percentage of North American content watched on iTunes has been growing in all the ten countries in 2022. The most significant increase is in Greece (+14%). The quota of North American content ranges from a minimum of 70% (in Czechia in 2021) to a maximum of 95% of the total (Bulgaria in 2022). TABLE S4_50 shows in detail the changes in the ten countries. Table S4_50 Watched content on iTunes produced in North America North America % in 2021 % in 2022 Average % BE 79,61 85,12 82,36 BG 89,42 94,74 92,08 CZ 69,53 75,56 72,55 DE 85,02 87,94 86,48 GR 78,7 92,73 85,71 IT 74,5 84,19 79,35 PT 88,17 92,2 90,18 ES 76,57 84,86 80,71 SE 77,7 81,52 79,61 TR 76,61 83,71 80,16 ALL 79,35 85,58 82,46 Source: FLIXPATROL, extracted 01.2023 Lovejoy, Ben, iTunes in the Cloud for Movies Goes Live in 11 New European Countries, Also for TV Shows in France, MacRumors, https://www.macrumors.com/2013/02/27/itunes-in-the-cloud-for-movies-goes-live-in-11new-european-countries-also-for-tv-shows-in-france/, 16.02.2023 60 91 Data about the popularity of European content on iTunes shows that in 2021 Bulgaria, Germany and Portugal have watched less European content on the platform than the global average; and the same can be told in 2022 for Bulgaria, Greece, Portugal, and Turkey. Czech Republic is with the highest percentage of European content watched for both years – 28.46% in 2021 and 24.27% in 2022. Table S4_51 Watched content on iTunes produced in EUROPE N 1 2 3 4 5 6 7 8 9 10 11 COUNTRY BE BG CZ DE GR IT PT ES SE TR ALL % in 2021 19,54 9,94 28,46 13,58 20,98 23,99 10,85 20,58 20,48 18,32 17,05 % in 2022 14,88 4,80 24,27 11,79 7,28 15,63 7,69 14,35 18,18 8,29 11,65 Average % 17,21 7,37 26,36 12,68 14,13 19,81 9,27 17,47 19,33 13,30 14,35 Source: FLIXPATROL, extracted 01.2023 Czech Republic is the leading country for the percentage of both European and national content. The highest percentage in for Q1 2021 - 40,75%. On the opposite side, some countries have less than 1% of watched national content on iTunes: Portugal with 0%, Bulgaria with average 0.04%, Greece with average of 0.09%, and Belgium with average of 0.64%. We have to precise and mark that watching national content largely depends on the actual availability of local titles in the platform’s catalogue. Table S4_52 Watched content on iTunes produced from the country 2021-2022 BE BG Q1 2021 Q2 2021 0,96 Q3 2021 CZ DE 40,75 2,63 11,36 2,97 12,41 0,73 GR 0,28 IT PT ES SE TR 15,76 15,40 15,40 3,62 1,97 2,48 1,82 2,46 4,25 4,92 1,44 7,08 4,33 Q4 2021 3,79 0,06 12,71 4,51 1,94 8,58 7,89 Q1 2022 0,22 0,14 1,74 3,15 9,73 9,76 8,40 Q2 2022 0,12 6,59 5,01 9,62 1,00 13,19 92 8,51 Table S4_52 Watched content on iTunes produced from the country 2021-2022 BE BG CZ DE GR IT 21,60 2,72 0,47 0,12 32,19 3,35 0,04 17,42 3,13 Q3 2022 Q4 2022 Average 0,64 0,09 ES SE TR 3,00 1,57 9,82 15,22 2,68 0,69 1,18 5,31 5,55 7.39 5,82 6,12 PT 0 Source: FLIXPATROL, extracted 01.2023 The top 5 genres on iTunes are Action, Sci-Fi, Superhero, Animated and Drama, nearly in all countries, with no relevant differences with the global data. Minor differences can be detected in in Czech Republic, with some preferences for Comedy and Adventure instead of Superhero and Drama; in Germany, with Comedy and Crime instead of Superhero and Animated; and less significantly in Bulgaria, Greece and Turkey. Table S4_53 MOST PREFERED GENRE ON iTunes ALL BE BG CZ DE GR IT PT ES SE TR Action 1 1 2 1 2 3 1 1 1 1 1 Sci-fi 3 3 3 2 3 4 2 3 2 5 3 Superhero 2 2 5 6 6 1 3 2 3 4 2 Animated 4 5 1 4 9 2 6 4 4 2 4 Drama 5 4 6 7 1 7 4 5 5 3 8 Comedy 6 7 6 3 5 8 5 7 6 7 5 Adventure 7 8 4 5 8 6 7 6 7 6 6 Crime 9 9 10 9 4 11 10 9 8 9 10 Fantasy 8 5 8 11 7 5 11 12 11 12 11 Horror 11 10 12 12 10 9 9 10 10 10 7 Romance 12 6 7 10 13 10 13 8 13 11 14 War 14 14 11 14 12 12 12 15 12 14 12 Documentary 13 12 13 15 16 14 14 13 14 13 13 Western 15 13 14 16 14 13 15 14 15 15 15 Thriller 16 11 9 8 11 8 11 9 8 9 Family 18 13 17 93 16 Table S4_53 MOST PREFERED GENRE ON iTunes Unscripted 17 Other 10 15 15 Source: FLIXPATROL, extracted 01.2023 Тhe most watched content on iTunes is produced by Others - in average for All Countries on the platform with 40%. For the ten counties in EUMEPLAT that percentage is 36%. Table S4_54 WATCHED content on iTunes produced by Others (n=80) % others Number of Q by 10 countries 60-67 4 55-59 5 50-55 5 45-50 9 40-45 8 36-40 6 30-36 20 25-30 7 20-25 7 15-20 3 10-15 3 0 3 80 Source: FLIXPATROL, extracted 01.2023 On the second place in the producer’s ranking is Warner Bros Pictures, the company which owns HBO Max, with an average of 18% at the global level, and a similar 19% in the ten countries represented in the project. The third place by percentages is for the content produced by Universal Pictures. Content produced by other VOD platforms is present on iTunes, but it is not commonly watched: with two exceptions in the first quarter of 2021 Portugal and Spain (see table S4_55). 94 Table S4_55 Watched Netflix content on iTunes Watched Netflix on iTunes ALL BE BG DE IT PT ES TR 0,40 0,64 0,00 45,43 54,77 0,26 0,40 1,34 0,46 0,86 0,16 1,39 0,79 0,12 0,16 2,95 0,10 0,42 Q1 2021 Q2 2021 Q3 2021 0,20 0,12 3,34 Q4 2021 0,20 0,44 0,40 2,79 0,04 Q1 2022 0,16 Q2 2022 0,10 Q3 2022 0,20 0,10 0,23 Q4 2022 0,20 Average 0,26 0,08 0,42 0,05 0,63 0,55 5,68 7,28 0,03 Source: FLIXPATROL, extracted 01.2023 The data shows that HBO content is not so popular on iTunes too, with the sole exception of Italy – a 12% of preference in the fourth quarter of 2022. Table S4_56 Watched HBO content on iTunes Watched HBO on iTunes Q1 2021 ALL BE CZ IT ES 5,90 SE 0,15 Q2 2021 3,62 0,64 6,53 Q3 2021 0,56 95 3,06 3,74 Table S4_56 Watched HBO content on iTunes Q4 2022 12,04 Source: FLIXPATROL, extracted 01.2023 The picture for the Disney+ content on iTunes is nearly the same as for the content produced by other platforms – basically they are not watched in any quarter of the 2021-2022 biennium. Table S4_57 Watched Disney+ on iTunes Watched Disney+ on iTunes BG CZ GR PT Q1 2021 1,76 Q2 2022 1,18 Q3 2022 0,30 Q4 2022 1,48 Source: FLIXPATROL, extracted 01.2023 Canal+ is the only European producer, which appears on the ranking with a very thin percentage: 0.4% in 2021 and 0.1% in 2022. Only in four of the countries involved in the project, the audiences have watched Canal+ contents on iTunes, and in all cases only in 2021. Table S4_58 CANAL PLUS watched content on iTunes by 10 countries Canal Plus 2021 All DE PT ES TR 0,4 0,05 0,16 1,36 0,37 2022 0,1 Source: FLIXPATROL, extracted 01.2023 96 In five of the ten countries covered by the EUMEPLAT activities, iTunes was included in the top-3 platforms, for the period from 01.11.2021 to 27.02.2022: Belgium, Bulgaria, Germany, Greece, and Turkey. On average the number of films per country on iTunes is 46, which is nearly the same as on HBO (47), higher than on Disney+ (37), and significantly less than Netflix (87). Table S4_59 Number of iTunes Films in the 5 countries N 1 iTunes BE BG DE GR TR Total Average N per platform N of countries 54 56 72 39 9 230 46 5 Source: FLIXPATROL, extracted 01.2023 On table S4_60 we can see that in the five countries, for the 17-week period, there are on aggregate 158 films listed in the top-10 watched ranking. 71% of the titles only appears once in this list, and just 5% of them are reported four times in top-10. Table S4_60 Number of iTunes Films no repetition N of repetitions N of films Total N of films % 4 8 32 5 3 10 30 6 2 28 56 18 1 112 112 71 TOTAL 158 230 100 Source: Flixpatrol 97 Table S4_61 Selected films in 10 countries (n=158) REPETITION Title of the films on iTunes 4 Black Widow, Dune, F9, Old, PaW Patrol: The Movie, Shang-Chi and the Legend of the Ten Rings, The Suicide Squad, Venom: Let There Be Carnage 3 Home Alone, Jungle Cruise, Nobody, Reminiscence, Spider-Man: Far from Home, Stillwater, The Croods: A New Age, The Father, The Grinch, The Last Duel 2 A Quiet Place Part II, Another Round, Cruella, Dolittle, Don't Breathe 2, Downton Abbey, Eternals, Free Guy, Harry Potter and the Chamber of Secrets, Harry Potter and the Philosopher's Stone, Home Alone 2: Lost in New York, House of Gucci, Luca, Midnight in the Switchgrass, No Time to Die, Peter Rabbit 2: The Runaway, Promising Young Woman, Space Jam: A New Legacy, Tenet, The Boss Baby: Family Business, The Courier, The Green Knight, The Ice Road, The King's Man, The Marksman, The Matrix Resurrections, Tom & Jerry, Wrath of Man 1 12 Angry Men, 2018: The Ultimate Test, 69: The Saga of Danny Hernandez, After We Fell, American Made, Apollo 11, Arrival, Avengers: Endgame, Barry Lyndon, Benedetta, Black Box, Blade Runner 2049, Boss Level, Chaos Walking, Cheaper by the Dozen, Children of Men, City of Lies, Clifford the Big Red Dog, Copshop, Dinner for One, Donnie Darko, Eiffel, Elf, Emma, Encanto, Epic, Escape Room, Flash Gordon, Frozen II, Ghostbusters: Afterlife, Halloween Kills, Hannibal, Harry Potter and the Deathly Hallows: Part 1, Harry Potter and the Goblet of Fire, Harry Potter and the Half-Blood Prince, Harry Potter and the Prisoner of Azkaban, Heaven Is for Real, Hitman's Wife's Bodyguard, Honest Thief, I'm Your Man, ICareaLot, Interstellar, It's Only the End of the World, Jack Reacher, Jack Reacher: Never Go Back, Jim Button and the Wild 13, Jumper, K3: Dans van de Farao, Kaamelott - The First Chapter Kaiserschmarrndrama, Knives Out, Lansky, Life of Pi, Little Lord Fauntleroy, Love Actually, Meet the Fockers, Mission: Impossible-Fallout, Motherless Brooklyn, No Sudden Move, OSS 117: From Africa with Love, Paw Patrol: Mighty Pups, Pig, Pleasure, Raya and the Last Dragon, Recep İvedik 5, Red Sparrow, Reservoir Dogs, Revolutionary Road, Riders of Justice, Run All Night, Saint Laurent, Shao Lin san shi liu fang/ The 36th Chamber of Shaolin, Skyfall, Snake Eyes: G.I. Joe Origins, Sonic the Hedgehog, Soul, SPECTRE, Spencer, Spider-Man, Spiral: From the Book of Saw, Spirit Untamed, Spoiled Brats, Star Wars: The Rise of Skywalker, The 355, The Addams Family, The Addams Family 2, The Assistant, The Comeback Trail, The Core, The Dry, The Grand Budapest Hotel, The Hangover, The Hitchhiker's Guide to the Galaxy, The Hunt for Red October, The Invisible Man, The Judge, The Little Things, The Lord of the Rings: The Fellowship of the Ring, The Many Saints of Newark, The Mauritanian, The Misfits, The Protégé, The Reader, The Secrets We Keep, The Unholy, The Witches, Those Who Wish Me Dead, Tides, Toy Story 4, Trigger Point, Wander, Witness On iTunes USA is the top country of origin, with nearly 53%, followed by UK with 15%, and Canada with 8%. The total number of producing countries is 24, but one more time, many of them only participated in partnership with USA. 98 Table S4_62 iTunes Films Country/Countries of origin (n=390) Country Number % 206 52,82 1 United States 2 United Kingdom 57 14,62 3 Canada 32 8,21 4 France 17 4,36 5 Germany 13 3,33 6 China 12 3,08 7 Japan 10 2,56 8 Belgium 7 1,79 9 Australia 6 1,54 10 Sweden 5 1,28 11 Denmark 3 0,77 12 Mexico 3 0,77 13 Spain 3 0,77 14 Finland 2 0,51 15 Ireland 2 0,51 16 Netherlands 2 0,51 17 Saudi Arabia 2 0,51 18 Switzerland 2 0,51 99 Table S4_62 iTunes Films Country/Countries of origin (n=390) Country Number % 19 Bulgaria 1 0,26 20 Colombia 1 0,26 21 Hong Kong 1 0,26 22 Italy 1 0,26 23 Luxembourg 1 0,26 24 Taiwan 1 0,26 390 100 Source: IMDb, January, 2023 European countries, as it was for other platforms, account for 58% of the producing countries, but they are mostly present as co-producers. Table S4_63 NON-EUROPEAN and EUROPEAN Countries iTunes Films % Number of countries % of countries NON-European 10 42 European 14 58 Total 24 100 100 Table S4_63A 27 EU members and Non EUROPE Countries iTunes Films % Number of countries % of countries NON-EU members 12 50 27 EU members 12 50 24 Total 100 English language counts for 47% of all the mentioned languages on iTunes, and it is the main language in 94% of all the films made available. French (8%), Spanish (7%) and German (5%) are following the English language. Table S4_64 Language of the iTunes Films (n=460) N Language N % 1 English 217 47,17 2 French 37 8,04 3 Spanish 31 6,74 4 German 25 5,43 5 Russian 21 4,57 6 Latin 18 3,91 7 Italian 15 3,26 8 Mandarin 13 2,83 9 Japanese 10 2,17 10 Arabic 6 1,30 11 Hindi 6 1,30 12 Norwegian 5 1,09 13 Ukrainian 5 1,09 14 American Sign Language 4 0,87 15 Finnish 4 0,87 16 Hungarian 4 0,87 17 Czech 3 0,65 18 Danish 3 0,65 101 Table S4_64 Language of the iTunes Films (n=460) N Language N % 19 Estonian 3 0,65 20 Korean 3 0,65 21 Portuguese 3 0,65 22 Swedish 3 0,65 23 Ancient Greek 2 0,43 24 Hebrew 2 0,43 25 Macedonian 2 0,43 26 Marathi 2 0,43 27 Sumerian 2 0,43 28 Tupi 2 0,43 29 Georgian 1 0,22 30 Greek 1 0,22 31 Inuktitut 1 0,22 32 Persian 1 0,22 33 Romanian 1 0,22 34 Serbian 1 0,22 35 Slovak 1 0,22 36 Somali 1 0,22 37 Turkish 1 0,22 460 100 Total Source: IMDb, January, 2023 In Bulgaria and Greece, there are no movies available in national language in iTunes. In all other the cases, the share of national language is above 10%. Belgium is the country with the lowest percentage of English language (89%), while Greece has a 100% of English language. 102 Table S4_65 iTunes Films English and National language 125 100 75 98 89 100 93 100 50 25 24 0 19 0 11 0 Belgium Bulgaria Germany % English Language Greece Turkey % National Language The taxonomy of genres as reported by iTunes is different from the other platforms, as it delas with such thematic labels as Cars, Gagsters, Serial Killer, Aliens, and the similar. Even though this categorization makes it difficult to properly compare iTunes with its VOD competitors, we can notice that the ranking of most preferred genres is topped by the same ones as in other platforms: namely, Action, Drama, Adventure, Comedies, and Sci-Fi. Table S4_66 iTunes Films GENRES Reported by iTunes (n=423) N GENRE Number % 1 Action Movies 64 15,13 2 Dramas 48 11,35 3 Adventure Movies 47 11,11 4 Comedies 37 8,75 5 Sci-Fi Movies 29 6,86 6 Thriller Movies 23 5,44 7 Family Movies 22 5,20 8 Crime movies 21 4,97 9 Fantasy 19 4,49 10 Animation 14 3,31 11 Mystery 14 3,31 12 Kids 12 2,84 13 Horror Movies 11 2,60 14 Superhero 11 2,60 103 Table S4_66 iTunes Films GENRES Reported by iTunes (n=423) N GENRE Number % 15 Spy Movies 8 1,89 16 History 5 1,18 17 Murder 5 1,18 18 Biography 4 0,95 19 Romance 4 0,95 20 Biopic 3 0,71 21 Documentary Films 3 0,71 22 Cars 2 0,47 23 Gagsters 2 0,47 24 Revenge 2 0,47 25 Serial Killer 2 0,47 26 Terrorism 2 0,47 27 Action heroes 1 0,24 28 Aliens 1 0,24 29 Drug cartel 1 0,24 30 Fashion 1 0,24 31 Heist 1 0,24 32 Hitman 1 0,24 33 Time loop 1 0,24 34 Turkish production 1 0,24 35 Westerns 1 0,24 423 100 TOTAL Source: iTunes, January, 2023 104 As to penetration of this VOD provider, we can recall that nearly 27% the of smartphones in Europe run on iOS; which also means the same percentage of devices are iPhones.61 Those are the main potential users of iTunes as a platform for films and TV series. Good news for Europe come from Apple in the beginning of 2023, with the announcement that “Apple TV+ is expanding its European production teams”62. https://www.sossupport.net/blog/android-vs-ios-market-share-per-country2022/#:~:text=Across%20Europe%2C%20the%20mobile%20device,with%20a%2015.65%25%20market%20sha re., 16.02.2023 62 Gallagher, William, Apple TV+ is expanding its European production teams, Apple Insider, https://appleinsider.com/articles/23/01/06/apple-tv-is-expanding-its-european-production-teams, 16.02.2023 61 105 5.5 Amazon Prime Video In July 2022, Amazon announced the raise of the fees for its delivery and streaming service Amazon Prime in Europe by up to 43% a year. The importance of the European audiences for Prime is not to be underestimated: according to the available data, for instance, Germany is Amazon's second-biggest market after the United States. 63 At the beginning of 2022, the research Firm Ampere Analysis announced that Amazon Prime Video is now the market leader in Germany. It overtook Netflix's lead, and the gap is expected to grow in the coming years.64 According to Jaanika Juntson, a member of the Markets Operators team at Ampere covering the German market, “Amazon’s lead is driven by many factors, for example Amazon’s higher proportion of German language content. Amazon’s growth is driven by its live sports rights, such rights to broadcast UEFA’s Champions League matches in Germany for the 2021-22 season.”65 If we read between the lines, we can find that local content and national language is a key combination for expanding on the European market. Although Amazon Prime Video is available in all ten EUMEPLAT countries, on FlixPatrol there is data only for Germany and global usage. As a consequence, for Amazon Prime Video we will compare All countries with Germany. As it is shown on TABLE S4_67, Germany is consuming on average more North American content than the global users of the platform. Table S4_67 Watched content on Amazon Prime produced in North America N COUNTRY % in 2021 % in 2022 Average % 1 GERMANY 78,23 88,44 83,36 2 ALL COUNTRIES 73,75 82,15 77,95 Source: FLIXPATROL, extracted 01.2023 A good trend is visible, according to which German public consumes more European contents than the global average. The average is nearly double comparing to the platform average for all countries. 63 Dastin, Jeffrey, Amazon to raise Prime prices in Europe as retailer wrestles with costs https://www.reuters.com/business/retail-consumer/amazon-raise-prime-prices-europe-retailer-wrestles-withcosts-2022-07-25/, 16.02.2023 64 Abbatescianni, Davide, Amazon Prime Video is now the market leader in Germany, says Ampere Analysis, Cineuropa, https://cineuropa.org/en/newsdetail/421193/, 16.02.2023 65 Abbatescianni, Davide, Amazon Prime Video is now the market leader in Germany, says Ampere Analysis, Cineuropa, https://cineuropa.org/en/newsdetail/421193/, 16.02.2023 106 Table S4_68 Watched content on Amazon Prime produced in EUROPE N 1 2 COUNTRY GERMANY ALL COUNTRIES % in 2021 18,58 10,88 % in 2022 11,52 6,38 Average % 15,05 8,63 Source: FLIXPATROL, extracted 01.2023 As shown in table S4_69, in 2022 half of the European content is produced “by the country” – 5.43% percent of national content. Table S4_69 Watched content on Amazon Prime produced by the country 2021-2022 DE Q1 2021 7,29 Q2 2021 4,92 Q3 2021 6,86 Q4 2021 4,8 Q1 2022 5,23 Q2 2022 5,55 Q3 2022 5,47 Q4 2022 5,45 Average 5,70 Source: FLIXPATROL, extracted 01.2023 The most preferred genres in Germany perfectly coincide with those of the global audience of the platform. In Germany, there are two missing genres - Documentary and War - which are on the bottom of global preferences. Table S4_70 Most Preferred Genres on Amazon Prime ALL DE 2 3 5 9 1 2 3 4 Action Sci-fi Superhero Adventure 107 Table S4_70 Most Preferred Genres on Amazon Prime Other 6 8 1 4 14 11 7 12 17 15 16 10 Unscripted 13 Horror Comedy Drama Animated Thriller Fantasy Crime Romance War Western Documentary 5 6 7 8 9 10 11 12 13 14 15 Source: FLIXPATROL, extracted 01.2023 On Table S4_71, we present the average percentages for All Countries and Germany for the period of 2021-2022. German’s taste for producers is different from the taste go the global audience of the platform. In the global audience number one producer is Paramount Pictures with 13.3%, and in Germany the percentage is zero. In Germany top producer is Other with 35.44%. Canal plus has zero percent in both groups. Interesting fact is that Netflix productions account for 4.94%. Table S4_71 Amazon Prime Watched Content by producer/s Platform Other Warner Bros. Pictures Universal Pictures Sony Pictures Netflix MGM STX Entertainment Lionsgate Walt Disney Pictures 20th Century Fox Average all Average Germany 10,97 35,44 12,95 19,70 9,80 11,64 9,75 11,17 0,39 4,94 3,66 4,69 0,94 3,24 2,51 3,08 2,20 2,63 2,52 2,00 108 Table S4_71 Amazon Prime Watched Content by producer/s Hulu Paramount+ Paramount Pictures 0,31 1,41 10,23 0,06 13,30 AMC 1,98 Orion Picture 0,04 HBO 0,54 HBO MAX 6,79 Millennium Films 11,12 100 100 Source: FLIXPATROL, extracted 01.2023 In three of the countries we are considering, Amazon Prime Video in included in the list of the top 3 platforms in terms of popularity: Czech Republic, Germany, and Italy. Czech Republic has the smallest number of top-watched films during the researched period, 33, and Italy has the highest, 67. The average for the three countries is 51 single movie titles. Table S4_72 Number of Amazon Prime Films in the 3 countries N 1 Amazon Prime CZ DE IT Total Average N per platform N of countries 33 54 67 154 51 3 Source: FLIXPATROL, 10.2022 The average number of films per country is close to the average on HBO (47) and iTunes (46), higher than the one of Disney+ (37) and smaller than the Netflix one (87). Table S4_73 Number of Amazon Prime Films no repetition N of repetitions N of films Total N of films % 2 15 30 11 1 124 124 89 TOTAL 139 154 100 Source: FLIXPATROL, 10.2022 109 Table S4_74 lists out 139 films, and their breakdown divided by the number of occurrences in the top-watched list. Amazon Prime has the smallest number of receptions, 2, comparing to other platforms: Netflix (10), Disney+ (4), HBO (5), and iTunes (4). Table S4_74 Selected films on Amazon Prime in 3 countries (n=139) REPETITION Title of the films on Amazon Prime 2 After We Fell, Being the Ricardos, Cinderella, Dangerous, Encounter, Halloween, Harry Potter and the Philosopher's Stone, I Want You Back, Infinite, Spiral: From the Book of Saw, The Protégé, The Tender Bar, The Tomorrow War, The Voyeurs, Time Is Up 1 7500, A Million Ways to Die in the West, A Quiet Place, Ad Astra, After, After We Collided, Anni da cane, Another Round, B3N: Respira, Bedazzled, Benvenuti in casa Esposito, Black Widow, Bliss, Borat Subsequent Moviefilm, Catweazle, Chaos Walking, Christmas at the Plaza, Christmas on the Nile, Christmas Vacation 2000, City of Lies, Clifford the Big Red Dog, Come un gatto in tangenziale - ritorno a Coccia di Morto, Coming 2 America, Despicable Me 2, Dinner for One, Don't Breathe 2, Dope Boys Alphabet, Dune, Emma, Escape Room: Tournament of Champions Eternals, F9, Fack ju Göhte 3, Federica Pellegrini - Underwater, Frivolous Lola, Genitori vs influencer, Ghostbusters: Afterlife, Godzilla vs. Kong, Halloween Kills, Harry Potter and the Chamber of Secrets, Harry Potter and the Deathly Hallows: Part 1, Harry Potter and the Deathly Hallows: Part 2, Harry Potter and the Goblet of Fire, Harry Potter and the Half-Blood Prince, Harry Potter and the Order of the Phoenix, Harry Potter and the Prisoner of Azkaban, Hitman's Wife's Bodyguard, Home Alone, Home Alone 2: Lost in New York, Hotel Transylvania 3: Summer Vacation, Hotel Transylvania: Transformania, House of Gucci, How the Grinch Stole Christmas, I Am Santa Claus, It Chapter Two, Jolt, Kaiserschmarrndrama, Last Christmas, Little Lord Fauntleroy, Look Away, Love Actually, Malignant, Merry Christmas, Minions, Monster Hunter, Most Dangerous Game, My Son, Natale a Beverly Hills, Natale a New York, Nine and a Half Moons, No Time to Die, Nobody, Oblivion, Old, Paparazzi, PAW Patrol: The Movie, Pintus@Christmas, Queenpins, Rammstein: Paris, Rooney, Saving Leningrad, Se mi vuoi bene, Serenity, Si vive una volta sola, Songbird, Sono solo fantasmi, Space Jam: A New Legacy, Spider-Man: Far from Home, Stargate: Continuum, Superheroes, The 12th Man, The Aeronauts, The Bourne Supremacy, The Conjuring: The Devil Made Me Do It, The Dry, The Electrical Life of Louis Wain, The Fast and the Furious: Tokyo Drift, The Father, The Forever Purge, The Green Knight, The Hating Game, The Ice Road, The King's Man, The Last Witch Hunter, The Legend of the Christmas Witch, The Little Things, The Manor, The Misfits, The Suicide Squad, The Wall, The Weeknd x Dawn FM Experience, Those Who Wish Me Dead, Till Death, Tom Clancy's Without Remorse, Trafficante di virus, Tre sorelle, Trolls World Tour, Tutti per Uma, Vacanze di Natale a Cortina, Venom, Venom: Let There Be Carnage, When Mom is Away… With the Family, Wrath of Man, Zack Snyder's Justice League 110 As with all other the platforms, USA and UK top the rankling of the producing countries, with respectively 45% and 15% of the total, for an aggregate quota of 60%. Table S4_75 Amazon Prime Country/Countries of origin (n=256) Country Number % 1 United States 116 45,31 2 United Kingdom 38 14,84 3 Italy 27 10,55 4 Canada 16 6,25 5 China 10 3,90 6 Germany 10 3,90 7 France 7 2,73 8 Bulgaria 5 1,95 9 Japan 5 1,95 10 Sweden 3 1,18 11 Austria 2 0,78 12 Norway 2 0,78 13 South Africa 2 0,78 14 Spain 2 0,78 15 Australia 1 0,39 16 Brazil 1 0,39 111 Table S4_75 Amazon Prime Country/Countries of origin (n=256) Country Number % 1 0,39 1 0,39 1 0,39 1 0,39 Luxembourg 1 0,39 22 Netherlands 1 0,39 23 Russia 1 0,39 24 South Korea 1 0,39 25 Switzerland 1 0,39 256 100 17 Denmark 18 Finland 19 Hong Kong 20 Iceland 21 Source: IMDb, January, 2023 In the case of Prime too, European countries account for the majority of the total producing countries (64%), but they are usually present as coproducers together with USA. Table S4_76 NON-EUROPEAN and EUROPEAN Countries on Amazon Prime Films % Number of countries % of countries Non-European 9 36 European 16 64 Total 25 100 112 Table S4_76A 27 EU members and non-members Countries on Amazon Prime Films % Number of countries % of countries Non-EU members 14 56 27 EU members 11 44 Total 25 100 On Amazon Prime, the movies are made available in a variety of languages, and again half of the languages mentioned is English (49%), followed by Italian (10%) and Spanish (5%). German language, despite Germany being the second biggest market for Amazon Prime, is only available in 3.91% of the releases. Table S4_77 Language of the AMAZON Prime Films (n=281) N Language N % 1 English 137 48,75 2 Italian 28 9,96 3 Spanish 15 5,34 4 French 14 4,98 5 Latin 14 4,98 6 Russian 12 4,27 7 German 11 3,91 8 Japanese 5 1,78 9 Mandarin 5 1,78 10 American Sign Language 4 1,42 11 Ukrainian 4 1,42 12 Arabic 3 1,07 13 Norwegian 3 1,07 14 Portuguese 2 0,71 15 Ancient Greek 1 0,36 16 Bulgarian 1 0,36 17 Chinese 1 0,36 113 Table S4_77 Language of the AMAZON Prime Films (n=281) N Language N % 18 Croatian 1 0,36 19 Czech 1 0,36 20 Danish 1 0,36 21 Finnish 1 0,36 22 Hebrew 1 0,36 23 Hungarian 1 0,36 24 Icelandic 1 0,36 25 Macedonian 1 0,36 26 Malay 1 0,36 27 Marathi 1 0,36 28 Navajo 1 0,36 29 North American Indian 1 0,36 30 Old English 1 0,36 31 Romanian 1 0,36 32 Sam 1 0,36 33 Serbo-Croatian 1 0,36 34 Shoshoni 1 0,36 35 Sumerian 1 0,36 36 Swedish 1 0,36 37 Turkish 1 0,36 38 Vietnamese 1 0,36 281 100 TOTAL Source: IMDb, January, 2023 Among the three elected countries, in Germany the movies are more commonly available in English than they are in the national language (respectively 93 and 11%), with the Italian data revealing a better balance (respectively 84 and 36%). In Czech Republic, none of the mostwatched movies is available in Czech. 114 Table S4_78 Amazon Prime Films English and National language N COUNTRY % English Language % National Language 1 Czech 94 0 2 Germany 93 11 3 Italy 84 36 Top genres on Amazon Prime are somehow in line with the top preferred genres in the other platforms: on top of the ranking, we have Comedies, Drama, Horror, and Suspense. A difference, in the case Amazon, is the second place of the genre Comic, while more peculiar genres – labeled as Alcohol, Basketball, Biopic, Space Opera, or Trap – appear at the bottom of the list. Table S4_79 Amazon Prime Films GENRES Reported by Amazon PRIME (n=205) N GENRE Number % 1 Comedies 24 11,83 2 Comic 20 9,85 3 Dramas 18 8,87 4 Horror Movies 15 7,39 5 Suspense 14 6,90 6 Action Movies 12 5,91 7 Sci-Fi Movies 12 5,91 8 Fantasy 10 4,93 9 Superhero 6 2,96 10 Adventure Movies 5 2,46 11 Marvel 4 1,97 12 Animation 3 1,48 13 Crime movies 3 1,48 14 Documentary Films 3 1,48 15 Family Movies 3 1,48 16 Murder 3 1,48 17 Slasher 3 1,48 115 Table S4_79 Amazon Prime Films GENRES Reported by Amazon PRIME (n=205) N GENRE Number % 18 Thriller Movies 3 1,48 19 Demons 2 0,98 20 Hitman 2 0,98 21 Monster 2 0,98 22 Mystery 2 0,98 23 Revenge 2 0,98 24 Romance 2 0,98 25 Spy Movies 2 0,98 26 Alcohol 1 0,49 27 Alien invasion 1 0,49 28 Basketball 1 0,49 29 Biopic 1 0,49 30 Cars 1 0,49 31 Christmas 1 0,49 32 Cry movie 1 0,49 33 DC 1 0,49 34 Disaster 1 0,49 35 Dogs 1 0,49 36 Fashion 1 0,49 37 For babies 1 0,49 38 Gangsters 1 0,49 Heist 1 0,49 1 0,49 1 0,49 1 0,49 39 40 History 41 Kids 42 Military movies 43 Music Videos and Concerts 1 0,49 44 Psychological 1 0,49 1 0,49 45 Serial killer 116 Table S4_79 Amazon Prime Films GENRES Reported by Amazon PRIME (n=205) N Number % 46 Space opera 1 0,49 Splatter 1 0,49 48 Sports Movies 1 0,49 49 Teen Movies 1 0,49 50 Trap 1 0,49 47 GENRE 51 Unscripted 1 0,49 52 Westerns 1 0,49 53 Young Adult Audience 1 0,49 N/A 2 0,98 205 100 Source: Amazon Prime Video, January, 2023 In 2022, Amazon Prime Video announced new investments to create regional contents in such markets as the UK, France, and some regions of Asia, as part of the strategy to win over international viewers.66 In the same year, Amazon Prime Video get redesigned. The main goal of this redesign is to be more competitive with other major platforms, as Netflix, HBO Max, and Disney+. During a public conference, the Amazon CEO Andy Jassy opined that video “is a really important ingredient in whether people choose to sign up for Prime or not”.67 With the TV series The Rings of Power and with the Thursday Night broadcasting of National Football League games, Amazon Prime Video became the number one subscription streaming service in the U.S., as of September 2022, for the first time surpassing Netflix in the Parks Associates Obolenskaya, Christina, Amazon Prime Video invests in content to entice international viewers, Insider Intelligence, https://www.insiderintelligence.com/content/amazon-prime-video-invests-content-enticeinternational-viewers, 16.02.2023 67 Hayes, Dad, Andreeva, Nellie, White, Peter and D'Alessandro, Anthony, Amazon Gets Ready For Its Next Hollywood Evolution After Jeff Blackburn’s Exit, DEADLINE, https://deadline.com/2022/12/amazon-primevideo-streaming-jeff-blackburn-executives-1235187817/, 16.02.2023 66 117 ranking.68 Data shows that “Prime subscribers and younger generation members are Amazon’s most frequent customers”.69 Amazon Prime is a membership service that gives subscribers free two-day shipping. It provides numerous perks, such as access to exclusive deals on Prime Day, access to Prime Video, and a collection of other benefits. In many areas, including Europe, Amazon Prime fee is integrated in that of the Amazon Prime program, and statistics show that 65% of all Amazon customers are Amazon Prime Members. In all evidence, the possibility for European competitors to break into the scene is shrinking, as the commercial VOD platforms are benefited by the network effect and the industrial synergies with the global Big Tech companies – something that will be addressed in deliverable D5.6, White Book of Recommendations. 68 Hayes, Dad, Andreeva, Nellie, White, Peter and D'Alessandro, Anthony, Amazon Gets Ready For Its Next Hollywood Evolution After Jeff Blackburn’s Exit, DEADLINE, https://deadline.com/2022/12/amazon-primevideo-streaming-jeff-blackburn-executives-1235187817/, 16.02.2023 69 74 Amazon Statistics You Must Know: 2023 Market Share Analysis & Data, https://financesonline.com/amazonstatistics/, 16.02.2023 118 5.6 Google Play According to the data released by the marketing agency Omdia, around 90 percent of new smart televisions in Europe were powered by Android TV, including some models that include the newer version of Android TV, called Google TV. 70 The analysis of Dataxis noted that Google experienced the largest growth in 2022 and 2021, and that this trend is expected to continue in 2023.71 In 2020, Google launched the Chromecast with Google TV. Nearly two years since its launch, Google is expanded the streaming stick to more markets, including Europe. In our case, the data about Google Play is available for nine countries, except for Bulgaria. According to Flixpatrol data, the average consumed content from North America in 2021-2022 is overall 84%. Only Turkey (56%) is below that percentage, and in Greece is very close to that average – 83.65%. Table S4_80 Watched content on Google Play produced in North America N COUNTRY % in 2021 % in 2022 Average % 1 BELGIUM 89,40 93,84 91,62 2 CZECH REPUBLIC 86,63 92,49 89,56 3 GERMANY 89,1 93,67 91,38 4 GREECE 71,98 95,33 83,65 5 ITALY 91,12 94,94 93,03 6 PORTUGAL 94,8 95,03 94,91 7 SPAIN 83,70 92,76 88,23 8 SWEDEN 88,63 92,73 90,68 9 TURKEY 39,91 72,16 56,04 10 ALL COUNTRIES 83,8 83,32 83,56 Source: FLIXPATROL, extracted 01.2023 Let us observe the success of the European works on Google Play (table S4_81). All the nine countries are below the global average (10.52%), and the exception to that trend is Greece, where in 2021 28% of the watched content is from Europe. Keys, Matthew, Google starts to dominate streaming TV market in Europe, https://thedesk.net/2022/09/googleandroid-tv-google-tv-growing-market-share-europe/?utm_content=cmp-true, 16.02.2023 71 Google gains 10% TV OS European market share in three years, Rapid TV News, https://www.rapidtvnews.com/2023012763382/google-gains-10-tv-os-european-market-share-in-threeyears.html#ixzz7tV9HnAbs, 16.02.2023 70 119 Table S4_81 Watched content on Google Play produced in EUROPE N 1 2 3 4 5 6 7 8 9 10 COUNTRY BELGIUM CZECH REPUBLIC GERMANY GREECE ITALY PORTUGAL SPAIN SWEDEN TURKEY ALL COUNTRIES % in 2021 9,84 10,36 8,48 28,01 8,35 5,18 10,79 9,80 7,23 12,92 % in 2022 6,15 7,51 6,29 4,66 5,05 4,95 7,23 6,90 3,78 10,52 Average % 7,99 8,93 7,39 16,34 6,70 5,06 9,01 8,35 5,51 11,72 Source: FLIXPATROL, extracted 01.2023 Turkey (29.85%) and Spain (3.35%) top the statistics, for what concerns the share of national contents. The marge between the first Turkey and the second - Spain - is big enough to be significant. Two of the other countries are above 1% - Czech Republic (1.21%) and Germany (1.66%) - whilst three of them are below 1%, and Greece and Portugal are with zero percent. Table S4_82 Watched content on Google Play produced from the country 2021-2022 BE CZ DE GR IT PT ES SE TR 3,21 3,4 11,21 0,75 57,28 0,24 2,62 0,34 0,61 0,28 2,93 3,06 2,14 9,64 Q1 2021 0,84 Q2 2021 0,18 47,55 Q3 2021 Q4 2021 2,25 37,85 Q1 2022 0,46 0,1 120 1,96 16,81 Table S4_82 Watched content on Google Play produced from the country 2021-2022 BE CZ DE GR IT PT ES SE TR 1,68 1,22 14,17 Q2 2022 1,62 Q3 2022 34,27 Q4 2022 6,19 Average 0,36 0,24 1,21 1,66 0 0,61 0,13 0 30,94 3,35 0,49 29,85 Source: FLIXPATROL, extracted 01.2023 On global scale, the top 5 genre on Google Play are: Superhero, Action, Sci-Fi, Animated, and Fantasy. The only difference, when compared to the countries we have observed, is in Belgium, where a preference is visible for Drama, instead of Sci-Fi. Table S4_83 MOST PREFFERED GENRE ON Google Play in 9 countries ALL BE CZ DE GR IT PT ES SE TR Action 2 1 1 2 1 2 1 2 1 1 Superhero 1 2 2 4 3 1 1 1 3 2 Sci-fi 3 6 3 3 2 2 2 5 2 2 Animated 4 3 4 5 6 2 2 3 4 4 Comedy 6 4 6 6 8 4 4 4 6 3 Horror 7 10 8 8 5 3 5 6 7 6 Drama 9 5 9 4 11 5 8 8 5 5 Fantasy 5 8 5 1 4 6 7 12 9 8 Adventure 8 7 10 9 7 7 6 7 8 9 Romance 10 9 7 11 9 8 3 11 12 10 Crime 11 11 12 7 10 9 9 10 11 7 Thriller 14 12 11 10 12 10 10 9 10 Documentary 15 13 15 14 15 13 11 Western 16 14 13 15 14 12 War 17 12 13 11 121 13 13 15 14 11 Table S4_83 MOST PREFFERED GENRE ON Google Play in 9 countries 14 Family Unscripted 13 Other 12 16 13 Source: FLIXPATROL, extracted 01.2023 The producer of the most watched content for the nine countries is Other - over one third of the total - while for the platform as a whole, the leading content producer is Warner Bros Pictures, which is the owner of HBO. Table S4_84 Watched content on Google Play by producer/s Average % ALL Countries 2021-2022 Average % EUMEPLAT Countries 2021-2022 Other 15,80 35,63 Warner Bros. Pictures 24,98 22,477 Sony Pictures 14,31 14,27 Universal Pictures 13,84 12,41 Walt Disney 2,70 4,151 MGM 2,71 3,676 20th Century Fox 2,65 3,38 1 1,17 STX Entertainment 0,44 1,07 Netflix 0,23 0,57 HBO 1,14 0,494 Hulu 0,19 0,275 Amazon 0,04 0,20 Paramount+ 0,20 0,12 Paramount Pictures 13,71 0,086 AMC 0,19 0,02 Orion Picture 0,06 0,001 HBO MAX 5,81 Total % 100 Platform Lionsgate 100 Source: FLIXPATROL, extracted 01.2023 122 In 27 of the 72 quarters for the nine countries the percentage of content by Others is between 30 and 39. In Turkey that percentage goes to 74,39% - in Q2 2021. The lowest figure is in Q1 2021 in Greece. Table S4_85 WATCHED content on Google play produced by Others (n=72) % others Number of Q by 10 countries 61,68 - 74,39 50 - 56 40 - 49 30 - 39 20 - 29 13 - 19 3,39 3 6 13 27 14 8 1 Total 72 Source: FLIXPATROL, extracted 01.2023 Among the most-watched contents on Google Play, those produced by Warner Bros. Pictures are very popular. The average percentage is 23%, but in some countries is much higher - in Greece is 46% for 2021 and 2022, and in the first quarter of 2021 it is 87%. That is important to remark upon, as Warner Bros. Pictures own a competitor platform, which is HBO/HBO Max. Table S4_86 WATCHED content on Google play produced by Warner Bros. Pictures Warner Bros. Pictures Q1 2021 Q2 2021 Q3 2021 Q4 2021 Q1 2022 Q2 2022 Q3 2022 Q4 2022 Average All BE CZ DE GR IT 36,4 22,85 47,86 11,51 87,45 30,1 33,6 22,68 31,27 7,21 54,41 48,87 13,32 16,73 21,6 18,5 22,63 36,11 25,47 19,4 19,6 18,9 ES SE TR 28,26 24,59 13,76 21,94 19,84 38,64 27,19 27,93 19,26 13,87 62,33 39,31 37,96 38,1 32,45 21,5 8,23 38,2 25,2 20,85 22,73 14,05 28,38 26,91 8,09 34,91 22,95 19,68 18,61 16,44 16,61 29,11 26,83 12,55 33,53 32,29 24,66 20,84 10,05 20,24 19,8 18,66 9,18 28,42 24,41 16,01 8,83 8,18 22,43 15,28 10,24 3,55 26,23 22,51 9,72 5,24 4,86 17,89 26,4 9,63 45,69 29,20 22,58 19,51 15,90 20,10 Source: FLIXPATROL, extracted 01.2023 24,76 25,84 PT Let us now focus on the Google Play contents produced by the competitor VOD services. German audiences have watched contents produced by Netflix: an average of 1.74% for the mentioned two-year period. In 2021, in Belgium, Czech Republic, Italy, Portugal, Sweden, and Turkey people have watched content produced by HBO on Google play. The highest percentage 123 is in in Italy in Q1 2021, an impressive 10.2%. In Portugal, Italy, and Czech Republic, Google Play users have occasionally watched content produced by Amazon Prime Video - mainly in Q4 2022, with the percentage around 1%. Only in Portugal and Sweden have Google Play watchers appreciated Disney+ titles, in both cases in Q2 2022. Only in two of the EUMEPLAT countries is Google Play one of the top national platforms, Greece and Italy. The number of films included in the top-watched list is relatively small, 38 in Greece and 34 in Italy. The average number of films per country is 36, arguably due to the composition of the catalogue. Table S4_87 Number of f Google Play Films in the 2 countries N 1 Google play GR IT Total Average N per platform N of countries 38 34 72 36 2 Source: FLIXPATROL, extracted 10.2022 Significant percentage of films appears in top 10 only once, 74%. The total number of films without repetitions is 57. Table S4_88 Number of NETFLIX Films no repetition N of repetitions N of films Total N of films % 2 15 30 26 1 42 42 74 TOTAL 57 72 100 On Table S4_89 is a list of all 57 films watched in Greece and Italy. Table S4_89 Selected films in 2 countries (n=57) REPETITION Title of the films on Google Play 2 A quiet place part II, Dune, F9, Free Guy, No Time to Die, Old, PAW Patrol: The Movie, Space Jam: A New Legacy, Spider-Man: Far from Home, The croods: A new age, The Grinch, The Matrix Resurrections, The suicide squad, Venom, Venom: Let There Be Carnage 124 Table S4_89 Selected films in 2 countries (n=57) REPETITION Title of the films on Google Play 1 Black Widow, Casino Royale, Don't Breathe 2, Elf, Encanto, Eternals, Fifty Shades Darker, Fifty Shades Freed, Ghostbusters: Afterlife, Godzilla vs. Kong, Harry Potter and the Chamber of Secrets, Harry Potter and the Order of the Phoenix, Harry Potter and the Philosopher's Stone, Home Alone, Home Alone 2: Lost in New York, House of Gucci, Journey to China: The Mystery of Iron Mask, Jungle Cruise, King Richard, Last Man Down, Monster Hunter, Mortal Combat, Nobody, Resident Evil: Welcome to Raccoon City, Shang-Chi and the Legend of the Ten Rings, Skyfall, Snake Eyes: G.I. Joe Origins, Spectre, Spider-Man, Spider-Man 3, Spider-Man: Homecoming, The Addams Family 2, The Amazing Spider-Man, The Boss Baby: Family Business, The Conjuring: The devil made me do it, The Deep House, The Forever Purge, The King's Man, The Lord of the Rings: The Fellowship of the Ring, The Lord of the Rings: The Two Towers, The Matrix, Wrath of Man As to the provenience of the titles, USA is the country of origin of 64.42% of the mentioned films, followed by UK with 10.58%. Table S4_90 Google Play Films Country/Countries of origin (n=104) Country Number % 1 United States 67 64,42 2 United Kingdom 11 10,58 3 Canada 8 7,69 4 China 3 2,88 5 Germany 3 2,88 6 Japan 3 2,88 7 Australia 2 1,92 8 Bahamas 1 0,96 125 Table S4_90 Google Play Films Country/Countries of origin (n=104) Country Number % 9 Brazil 1 0,96 10 Czech Republic 1 0,96 11 Mexico 1 0,96 12 Russia 1 0,96 13 South Africa 1 0,96 14 Sweden 1 0,96 104 100 Source: IMDb, January, 2023 Table S4_91 NON-EUROPEAN and EUROPEAN Countries Google Play Films % Number of countries % of countries NON-European 9 64 European 5 36 Total 14 100 Table S4_91A 27 EU members and non-members Countries Google Play Films % Number of countries % of countries NON-EU Members 11 79 27 EU Members 3 21 Total 14 100 As to languages available on the platform, English accounts for 55% of all the mentioned ones. 126 Table S4_92 Language of the Google Play (n=129) N Language N % 1 English 71 55,04 2 French 7 5,43 2 Spanish 7 5,43 3 Russian 6 4,65 4 German 5 3,88 5 Japanese 5 3,88 6 Italian 4 3,10 7 Latin 4 3,10 8 Mandarin 3 2,33 9 Malay 2 1,55 American Sign Language 1 0,77 Ancient Greek 1 0,77 Arabic 1 0,77 13 Chinese 1 0,77 14 Czech 1 0,77 Finnish 1 0,77 16 Hindi 1 0,77 17 Hungarian 1 0,77 18 Korean 1 0,77 19 Macedonian 1 0,77 20 Marathi 1 0,77 21 Norwegian 1 0,77 22 Portuguese 1 0,77 23 Sumerian 1 0,77 24 Tupi 1 0,77 129 100 10 11 12 15 Total Source: IMDb, January, 2023 127 In Greece there are no movies made available in Greece, in the observed period, whereas in Italy 12% of films are also in Italian. Table S4_93 Google Play Films English and National language N COUNTRY 1 Greece 2 Italy % English Language % National Language 97 0 100 12 Action movies represent 31% of the top-watched films, followed by Sci-Fi (10%) and Superhero (9%). Aliens, Cars, Monsters, Mystery, and Thrillers – sticking to Google Play’s own definitions - are the less preferred genres on the platform. Table S4_94 Google Play Films GENRES Reported by Netflix (n=81) N GENRE Number % 1 Action Movies 25 30,86 2 Sci-Fi Movies 8 9,88 3 Superhero 7 8,64 4 Family Movies 6 7,41 5 Fantasy 6 7,41 6 Horror Movies 6 7,41 7 Animation 5 6,17 8 Comedies 4 4,94 9 Spy Movies 4 4,94 Dramas 3 3,70 Romance 2 2,47 Aliens 1 1,24 13 Cars 1 1,24 14 Monster 1 1,24 Mystery 1 1,24 Thriller Movies 1 1,24 10 11 12 15 16 128 Table S4_94 Google Play Films GENRES Reported by Netflix (n=81) N GENRE Number % 81 100 Source: Google Play, January, 2023 Google Play has the smallest average number of films per platform, comparing to others. The number of countries of origin is small, as and the variety of languages in which the movies are available is inferior to that of the other platforms. By in large, in any case, Google Play is not particularly popular in the countries covered by the project. Table S4_95 FILM on Google Play Google Play No repetitions FILMS Number of Films 57 Number of countries of origin 14 Number of Languages 25 % National language 6 Number of Genres 16 129 5.7 Summary of films on VOD platforms in the ten countries By no doubt Netflix is the most popular VOD provider for the researched period 01.11.2021 27.02.2022 in the ten countries, as it is everywhere the top watched platform. The second place is for Disney+, HBO and iTunes, which are present in the top-3 ranking in five of the countries. Amazon Prime is following with 3 countries, and the last place is for Google Play with 2 countries. Table S4_ 96 N of countries in which the platform is in top 3 N of countries NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 10 5 5 3 5 2 Source: Flixpatrol, 2022 Netflix is also the platform on which the audiences are watching the largest number of films. HBO and iTunes follow, while in Disney+ and Google Play people watch a more limited number of titles. Table S4_ 97 N of films without repetition for each platform N of films without repetition NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 356 69 158 139 159 57 Source: Netfilx, Flixpatrol, 2022 The average number of films per country is highest on Netflix (87) and lowest on Disney+ and Google Play. 130 Table S4_ 98 Average number of films per country Average N of films per country NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 87 37 46 51 47 36 Source: Netflix, Flixpatrol, 2022 A difference is that, on Netflix, movies stay longer in the top-10 list. usually for a period of 10 weeks, compared to a 2–5-week average for the other platforms. Table S4_ 99 Highest number of films repetitions Highest number of films repetitions NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 10 4 4 2 5 2 Source: Netflix, Flixpatrol, 2022 On Table S4_ 100, we can see the percentage of films with most occurrences in the top-watched list. In Disney+ we have a 43% of repetitions, followed by Google Play. The HBO audiences, for some reason, seem to follow a different attention pattern, as only 1% of the tiles occur more than once in the top-watched ranking. Table S4_ 100 % of films with highest number of occurrences NETFLIX % of films with highest 6% number of repetitions Disney+ HBO iTunes Amazon Google Prime Play 43% 5% 11% 1% 26% Source: Netflix, Flixpatrol, 2022 131 Table S4_ 101 % of films in top 10 only once % of films in top 10 only one time NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 64% 29% 63% 71% 89% 74% Source: Netflix, Flixpatrol, 2022 When we look on country of origin of the titles, we may say that in all platforms USA is the strongest producer: in all cases it accounts for over than 45% of the total, and the highest percentage is on Disney+, 75.93%. In all platforms, similarly, the second producer is UK, releasing between 10 and 17% of the total. USA has nearly 4 times higher percentage in all platforms than the UK, which is the second country in these statistics. While there are no variations among countries for what concerns the two most powerful producing countries, some differences can be observed at the lower levels of the ranking. On three of the platforms, Canada takes the third place, with 7-9% of the total. On Disney+ there are four different countries at the third place, but with a very thin percentage – 1,66%. If we look in details the data, we will see how Canada is present with co-productions, and not as a single country of origin. And one more difference is that Netflix has the biggest number of single countries of origin, 45, and Disney+ the lowest, 11. Table S4_102 Countries of origin NETFLIX Disney+ HBO iTunes Amazon Google Prime Play First Country of origin USA USA USA USA USA USA % of the First country of origin 46% 75,93% 53,04% 52,82% 45,31% 64,42% Second Country of origin UK UK UK UK UK UK % of the Second country of origin 12% 14,10% 17% 14,62% 14,84% 10,58% 132 Table S4_102 Countries of origin NETFLIX Disney+ HBO iTunes Amazon Google Prime Play France Czech Republic, Germany, Canada Mexico, New Zealand Canada Italy Canada % of the Third country of origin 6% 1,66% 9,14% 8,21% 10,55% 7,69% Number of Country of origin 45 11 28 24 25 14 Third Country of origin Source: Netflix, Disney+, HBO, iTunes, Amazon Prime Video, Google Play, 2022 If we observe the country of origin of the most-watched titles, we can somehow see an optimistic picture for Europe. Except for Google Play, in all the other platforms the contents produced in Europe account for more than 55% of the total. On the other hand, we have to stress the attention on the fact that in that percentage UK plays a significant part, as it is the second country of origin on all of the platforms. With the exception of the UK, what is more, European countries are in most of the cases coproducers in partnership with USA. Table S4_103 % European Countries of origin % European Countries of origin NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 58% 55% 58% 64% 57% 36% Source: IMDb, January, 2023 With no doubt, the first language in all platforms is English – with the clarification that we collected data about the dubbing, and not only about the original language of the films. English is relatively less dominant on Netflix - 32% - and has the highest share on Google Play, 55.04%. 133 Table S4_104 TOP 3 Mentioned Languages on Platforms for films NETFLIX Disney+ HBO iTunes Amazon Google Prime Play First Language English English English English English English % of the First Language 49,9% 45,96% 50,91% 47,17% 48,75% 55,04% Second Language Spanish French Spanish French Italian French, Spanish % of the Second Language 8,84% 8,08% 6,73% 8,04% 9,96% 5,43% Third Language French German French Spanish Spanish Russian % of the Third Language 7,40% 7,32% 6,05% 6,74% 5,34% 4,65% Number of languages 60 28 41 37 38 25 Source: IMDb, January, 2023 We can see that the national language is not well represented in all platforms. In many cases, there is a zero percentage of films on the platforms with national language. However, the average percentage is small, comparing to other languages. In four of the selected platforms the average percentage is around or above 10: 15.66% in Amazon Prime, 11.7% in Netflix, 10.8% in iTunes, and 10.2% in Disney+. Google Play has only 6% of tiles available in the national language, and HBO only 5.2%. Table S4_105 Average % of National Language for Films Average % of National Language NETFLIX Disney+ HBO iTunes Amazon Google Prime Play 11,7% 10,2% 10,8% 15,66% 4,8% 6% Source: IMDb, January, 2023 134 Amazon Prime has the biggest diversity of genres, 53, followed by Netflix with 50. Action is the most preferred genre and is in any case one of the top-3 for popularity, apart from Amazon Prime. Netflix audiences prefer comedies, as do the viewers on Amazon Prime. Table S4_106 TOP 3 Film GENRES on Platforms NETFLIX Disney+ HBO iTunes Amazon Prime Google Play Number of Genres 50 27 8* 35 53 16 First Genre Comedies Animation Action Action Comedies Action % of the First Genre 15% 16,11% 8,51% 15,13% 11,83% 30,86% Second Genre Dramas Comedies Dramas Dramas Comic Sci-Fi % of the Second Genre 11% 14,44% 4,69% 11,35% 9,85% 9,88% Third Genre Action Action Crime Adventure Dramas Superhero % of the Third Genre 9% 11,67% 3,83% 11,11% 8,64% 8,87% Source: Netflix, Disney+, HBO, iTunes, Amazon Prime Video, Google Play, 2022 As repeatedly noticed, USA and UK as country of origin dominate the platforms in the researched period. When compared to this hegemony of the productions in English language, European countries are mostly present as coproducers. In this sense, the data from the European Audiovisual Observatory Yearbook 2021-2022 shows that “on average, on any given day, European citizens have access to close to 7 000 European non-national films (EUR non-nat.) on VOD services in their country, of which 3 715 had a theatrical release no earlier than 1996”.72 That is to show that European content is there. But European content is not promoted in the same the way the American is, and linguistic fragmentation is still an obstacle to Europeanization. Finally, there is a common preference for recently realized 72 YEARBOOK 2021/2022 KEY TRENDS, European Audiovisual Observatory (Council of Europe), Strasbourg 2022, p. 20 135 contents in all VODS, to the point that the films “released no earlier than 1996” are not so attractive to audiences, especially in the case of the young generations. 136 6. Section 5: The TV shows on three videoon-demand platforms 6.1 Netflix TV Shows TV shows account for roughly 75 percent of the viewing on global scale, according to the Netflix data. That makes TV shows a very important part of the platforms’ programming. As we can see on TABLE S5_1 the number of TV shows per platform are nearly the same - between 45 and 68 per country. On average we have a 53 TV shows per country on Netflix. We clarify, here, that in the case of the Tv-series we have made no distinctions between the different seasons (in short, the first and third season of La casa de Papel, for example, are counted as the same title). Table S5_1 Number of TV Shows in the 10 countries on NETFLIX N 1 Netflix BE BG CZ DE GR IT PT ES SE TR Total Average N per platform N of countries 51 45 46 53 49 56 55 58 48 53 10 68 529 Source: Netflix, 05.2022 The highest percentage of TV Shows are in top-10 for the 17-week period only once (45% of the total), with 15% of the titles represented ten times in the top-10 list. Once again, audiences reveal a clear preference for recently released contents. Table S5_2 Number of NETFLIX TV Shows without repetition N of repetitions N of TV SHOWS Total N of TV Shows % 10 21 210 15 9 7 63 5 8 4 32 3 7 2 14 1 6 6 36 4 5 3 15 2 4 7 28 5 137 Table S5_2 Number of NETFLIX TV Shows without repetition 3 11 33 8 2 17 34 12 1 64 64 45 TOTAL 142 529 100 Source: Netflix, 05.2022 In all likelihood, the strategies of the platforms – especially the presentation of the trending contents – impact on the viewers’ choice. Such strategy is coupled with the aggressive promotion targeting the young viewers, attracting significant percentage of the audiences towards the most recent titles. In fact, most of the top-10 TV shows are produced in the last three years. The Netflix strategy is to acquire successful TV shows, as in the case of Money Heist/La casa de papel). The TV series had its original run of 15 episodes on Spanish network Antena 3 in May 2017. Netflix acquired global streaming rights in late 2017 and brings global success to the TV series (see D3.4). Table S5_3 Selected TV Shows on NETFLIX in 10 countries (n=142) REPETITION Title of the TV shows on NETFLIX 10 All of Us Are Dead, Archive 81, Cobra Kai, Cowboy Bepop, Emily in Paris, In From the Cold, Inventing Anna, Locke & Key, Lost in Space, Money Heist, Narcos: Mexico, Ozark, Squid Game, Stay Close, The Silent Sea, The Witcher, The Woman in the House Across the Street from the Girl in the Window, Titans, Too Hot to Handle, Toy Boy, You 9 Arcane, Dark Desire, Hellbound, Maid, One of Us is Lying, Raising Dion, Sweet Magnolias 8 Dynasty, The Girl from Oslo, True Story, Vikings: Valhalla 7 Big Mouth, Selling Sunset 6 I Am Georgina, Kitz, Love Is Blind, Neymar: The Perfect Chaos, The Good Doctor, The Sinner 5 Devotion, a Story of Love and Desire, Jurassic World: CampCretaceous, Undercover 4 After Life, Brooklyn Nine-Nine, Feria: The Darkest Light, Snowpiercer, The Blacklist, The Cuphead Show!, The Queen of Flow 3 Christmas Flow, Disenchantment, Elves, JoJo’s Bizarre Adventure, Maya and the Three, My Name, Soy Georgina, Space Force, The Office (U.S.), Vikings, Young Wallander 138 Table S5_3 Selected TV Shows on NETFLIX in 10 countries (n=142) REPETITION Title of the TV shows on NETFLIX 2 Action Pack, Catching Killers, De Volta Aos 15, DOTA: Dragon's Blood, For Life, Go Dog Go, Inside Job, Manifest, PAW Patrol, Pieces of Her, Rebelde, Rick and Morty, S.W.A.T., The Chestnut Man, The King's Affection, Worst Roommate Ever, WWII in Color: Road to Victory 1 An Astrological Guide for Broken Hearts, Anxious People, Aquí no hay quien viva, Betty en NY, Blanca, Boruto, Carinha de Anjo, Carrossel, Cem Yılmaz: Diamond Elite Platinum Plus, Cheer, Chicago Med, Crime Scene: The Times Square Killer, Cúmplices de um Resgate, Das Haus Anubis, Daughter from Another Mother, Demon Slayer: Kimetsu no Yaiba, Downton Abbey, El marginal, Fidelity (Devotion, a Story of Love and Desire), Framed! A Sicilian Murder Mystery, Friends, Gabby's Dollhouse, Glória, Guida astrologica per cuori infranti, Hometown Cha-Cha-Cha, Hype House, Insiders, jeen-yuhs: A Kanye Trilogy, Kaçak Gelinler, Kardeş Payı, Love 101, Love Never Lies, Madre solo hay dos, Merli: Dare to Know, New Amsterdam, Nisser, Outlander, Pasión de gavilanes, Pokémon Master Journeys: The Series, Power Rangers Dino Fury, Queer Eye, Riverdale, RuPaul's Drag Race All Stars, Selling Tampa, Sex Education, Shadowplay, Sintonia, Sløborn, Superstore, Tear Along the Dotted Line, Temporada de Verão, The 100, The Big Bang Theory, The Bold Type, The Club, The Five Juanas, The Last Kingdom, The Puppet Master: Hunting the Ultimate Conman, The Scent of Passion, The Time It Takes, The Unlikely Murderer, Tiger King, Türk Malı, Where is Marta? Source: Netflix, 05.2022 As we can see in table S5_4, South Korea is the second most important producer of Tv-shows in the Netflix case. That is due to its hits like Squid Game and All of Us Are Dead. The success of South Korean TV Shows is just a sign that some countries, other than USA, can attract viewers, but the strategy should be well planned and adapted to the new reality of digital behavior and routine. So far, USA accounts for 68% of the produced contents, with UK also included in the top three, with 7%. Table S5_4 Netflix TV Shows Country/Countries of origin TV Shows (n=635) Country 1 USA 2 South Korea Mentions % 360 56,7 45 7,1 139 Table S5_4 Netflix TV Shows Country/Countries of origin TV Shows (n=635) Country Mentions % 3 UK 35 5,51 4 Spain 33 5,2 5 Canada 21 3,3 6 Mexico 17 2,7 7 Japan 15 2,4 8 Brazil 13 2 9 France 13 2 10 Italy 11 1,72 11 Poland 10 1,6 12 Germany 9 1,42 12 Hungary 8 1,3 14 Norway 7 1,1 15 Colombia 6 0,95 16 Denmark 6 0,9 17 Israel 6 0,9 18 Turkey 6 0,9 19 Belgium 5 0,8 20 Ireland 3 0,5 140 Table S5_4 Netflix TV Shows Country/Countries of origin TV Shows (n=635) Country Mentions % 21 Nigeria 2 0,3 22 Sweden 2 0,3 23 Argentina 1 0,2 24 Portugal 1 0,2 635 100% Source: IMDb, January, 2023 The European countries count for 54% of all producing countries, though this percentage is affected by the relevance of the audiovisual UK industry. Even in the case of TV shows, most of the European mentioned countries are present as co-producer, although that in TV series that percentage is lower comparing to films. Table S5_5 Netflix TV Shows NON-EUROPEAN and EUROPEAN Countries % Number of countries % of countries NON-European 11 46 European 13 54 Total 24 100 Source: IMBd, January, 2023 Table S5_5A 27 EU members and non-members on Netflix TV Shows % Number of countries % of countries NON-EU members 13 54 27 EU members 11 46 141 Table S5_5A 27 EU members and non-members on Netflix TV Shows % Total Number of countries % of countries 24 100 Source: IMBd, January, 2023 As to the languages in which the Tv-shows are made available, data have been collected in October 2022. The mentioned languages are 49, and among them we have Old Latin, Old English and Greek Ancient. There is also a distinction between Spanish and European Spanish, and between Portuguese and Brazilian Portuguese. Is any case, English represents 32.14% of all mentioned languages, which is less than its share in the case of films (46%). Table S5_6 Netflix TV Shows Language of the movies (n=657) N Language N % 1 English 388 59,06 2 Spanish 61 9,28 3 Korean 45 6,84 4 Portuguese 15 2,28 5 French 13 1,98 6 Italian 12 1,83 7 Russian 12 1,83 8 Arabic 10 1,52 9 German 9 1,38 10 Latin 9 1,38 11 Hindi 8 1,22 12 Japanese 8 1,22 13 Serbian 8 1,22 14 Danish 7 1,07 15 Norwegian 7 1,07 16 Urdu 7 1,07 17 Hebrew 6 0,91 18 Turkish 6 0,91 142 Table S5_6 Netflix TV Shows Language of the movies (n=657) N Language N % 19 Dutch 4 0,61 20 Flemish 3 0,46 21 Persian 3 0,46 22 English Urdu 2 0,30 23 Greek Ancient (to 1453) 2 0,30 24 Norse 2 0,30 25 Old English 2 0,30 26 Swedish 2 0,30 27 Ukrainian 2 0,30 28 Catalan 1 0,15 29 Chinese 1 0,15 30 Gaelic 1 0,15 31 Old Latin 1 0,15 Total 657 100% Source: IMDb, January, 2023 Bulgaria, Czech Republic and Greece are the countries where no TV shows are available in the respective national language. That means that all viewers in those countries are watching mostly only in English. Although in many cases the subtitles are available, the audio is still in English, so that the watchers might get used to that language. Spain is the country with the highest percentage of TV Shows in national language, 17%, followed by Portugal with 15%. If we look at the big picture of the most largely spoken languages worldwide, in 2022 Spanish is in on the fourth place, and Portuguese is on eighth place. Not surprisingly, the interest of the platforms is focused on the most spoken languages, which guarantee the access to broader viewership around the world. 143 Table S5_7 Netflix TV Shows English and National language N COUNTRY % English Language % National Language 1 Belgium 80 6 2 Bulgaria 80 0 3 Czech Republic 83 0 4 Germany 75 6 5 Greece 73 0 6 Italy 75 11 7 Portugal 58 15 8 Spain 60 17 9 Sweden 84 3 10 Turkey 65 13 Source: IMBd, January, 2023 The most popular Tv-shows genres are Dramas (20.36%), Crime (10.38%), and Action and Mysteries (8.04%). The variance in the preferences for TV Shows is obviously due to the number of genres listed by Netflix, 63. Table S5_8 TV Shows GENRES Reported by Netflix (n=982) N GENRE Number % 1 TV Dramas 200 20,36 2 Crime 102 10,38 3 Action 79 8,04 4 TV Mysteries 79 8,04 5 TV Thrillers 74 8 6 Comedy 60 6,1 7 Adventure 48 4,88 8 Fantasy TV Shows 45 4,58 9 Sci-Fi TV 38 3,86 10 Animation 36 3,66 11 Romance 32 3,25 144 Table S5_8 TV Shows GENRES Reported by Netflix (n=982) N GENRE Number % 12 Reality TV 25 2,54 13 Documentary 17 1,73 14 Horror 17 1,73 15 US TV Shows 17 1,73 16 Family Watch Together TV 13 1,32 17 Gameshow 9 0,91 18 Emotional 6 0,61 19 Sport 5 0,50 20 Touching 5 0,50 21 History 4 0,40 22 Kid’s TV 4 0,40 23 War 4 0,40 24 Biography 3 0,30 25 Cartoon 3 0,30 26 Music 3 0,30 27 Scandalous 3 0,30 28 TV Shows Based on Books 3 0,30 29 Violent 3 0,30 30 Challenging 2 0,20 31 Crimedy 2 0,20 32 Dark 2 0,20 33 Escaldante 2 0,20 34 Exciting 2 0,20 35 Intimate 2 0,20 36 Realistic 2 0,20 37 Sentimental 2 0,20 38 Sinister 2 0,20 39 2 0,20 2 0,20 Social Issue Dramas 40 Teen 145 Table S5_8 TV Shows GENRES Reported by Netflix (n=982) N GENRE Number % 41 Absurd 1 0,10 42 Action & Adventure 1 0,10 43 Buddies 1 0,10 44 Charming 1 0,10 45 Fiery 1 0,10 46 Hip-Hop 1 0,10 47 Intimist 1 0,10 48 Kitsch 1 0,10 49 Korean 1 0,10 50 Lifestyle 1 0,10 51 Medical 1 0,10 52 Musical 1 0,10 53 Obscene 1 0,10 54 Period Pieces 1 0,10 55 Provocative 1 0,10 56 Romantic 1 0,10 57 Romantic comedies 1 0,10 58 Romantic Dramas 1 0,10 59 Sitcom 1 0,10 60 Suspense 1 0,10 61 TV Shows Based on Manga 1 0,10 62 Wedding & Romance Reality TV 1 0,10 63 Witty 1 0,10 982 100 Source: Netflix, 10.2022 146 Table S5_9 Comparing FILM v/s TV Shows on NETFLIX Characteristic FILMS TV Shows Number of Films/TV Shows without repetitions 356 142 Number of countries of origin 45 24 % of European countries of origin 58 54 Number of Languages 60 31 % National language 11,7 7,1 Number of Genres 50 63 On Table S5_9 we show the comparison between films and TV shows in Netflix. Confronting the number of films and TV shows, we can see a huge difference, though we have to recal that the number of Tv-series includes different seasons of each title. We also have to pay attention to the fact that much more countries are engaged in movie productions than they are in the realization of TV- shows. In films and TV series the percentage of European releases is over 50%, and in both nearly all European countries are present as co-producers. On average, films are offered in more languages than TV-shows, as they are also dubbed in non-popular languages - as Uzbek, Shoshoni, Dari, and so on. The percentage of Tv-shows available in the national language, for the ten EUMEPLAT countries is as low as 12% for films, and as only 7% for TV shows. Spain, Portugal, Italy, and Turkey are with over 10% of Tv-shows in national language, and Spain and Czech have over 24% of the films. Bulgaria and Greece have zero percentage of films in national language and Tv shows. One of the challenges for Netflix in 2023 will be the password sharing problem, which they announced will be resolved this year. 147 Table S5_10 EUROPE: SVOD subscriber market shares, 2022-2023 Netflix is struggling financially against growing competition from other streamers such as Disney+, and that’s on top of the global economic downturn. The figures say it all: Netflix lost nearly a million subscribers between April and July 2022 as people decided to quit the service.73 In 2022, Netflix launched its ad-supported tier, giving consumers the ability to save money on their streaming habits. According to Standard & Poor’s Global, the top three global over-the-top video providers — Netflix, Disney, and Amazon — are expected to generate twothirds of the total European subscription VOD revenues in 2023.74 As we can see in table S5_ 10, Netflix is not only leading the market, but is the only platform with forecast for growth in 2023. One of the changes is the fact that hybrid revenue models are becoming the norm on the market. Netflix's Basic with Ads became available in France, Germany, Italy, Spain, and the United Kingdom in November 2022. The next step is to offer it in all European markets. 73 O'Flaherty, Kate, Netflix Password Sharing—Everything You Need To Know, Forbes, https://www.forbes.com/sites/kateoflahertyuk/2023/02/09/netflix-password-sharing-everything-you-need-toknow/?sh=72974a1c63b0, 16.02.2023 74 Chandakas, Michail, Europe: 5 key OTT trends to watch in 2023, SPGlobal, https://www.spglobal.com/marketintelligence/en/news-insights/research/europe-5-key-ott-trends-to-watch-in2023, 16.02.2023 148 6.2 Disney+ TV Shows Disney+ original series are created and produced by Disney-owned brands, such as Disney Branded Television, 20th Century Studios, Pixar, Marvel Studios, Lucasfilm and National Geographic. In six of the EUMEPLAT countries Disney+ is in top 3 platforms for TV-Shows. Table S5_11 Number of TV Shows in the 6 countries on Disney+ N 1 Disney + BE DE IT PT ES SE Tota l Average N per platform N of countries 22 21 26 27 24 153 25,5 6 33 Source: Flixpatrol, 05.2022 On Disney+ the number of TV shows which are 6 times in top 10 for the researched period is nearly the same as those which are just once. In aggregate, there are 47 TV-shows in the topwatched list of the six countries. Table S5_12 Number of Disney+ TV Shows no repetition N of repetitions N of TV SHOWS Total N of TV Shows % 6 13 78 28 5 3 15 6 4 4 16 9 3 5 15 10 2 7 14 15 1 15 15 32 TOTAL 47 153 100 Source: Flixpatrol, 05.2022 On Table S5_13 are presented all 47 TV Shows with the number of occurrences. 149 Table S5_13 Selected TV Shows on Disney+ in 6 countries (n=47) REPETITION Title of the Disney+ TV Shows 6 Dopesick, Family Guy, Grey's Anatomy, Hawkeye, How I Met Your Mother, Modern Family, Olaf Presents, Pam & Tommy, The Beatles: Get Back, The Book of Boba Fett, The Simpsons, The Walking Dead, Y: The Last Man 5 American Horror Story, The Mandalorian, Welcome to Earth 4 Desperate Housewives, Loki, Mickey Mouse Clubhouse, Station 19 3 Hit-Monkey, Marvel's Hit-Monkey, Only Murders In The Building, Star Wars: The Clone Wars, What If…? 2 American Dad!, Big Sky, Bluey, Castle, Criminal Minds, Mandalorian, Marvel's Spidey and His Amazing Friends 1 9-1-1., Bones, Disney Galaxy: The Mandalorian, Doogie Kamealoha, M.D., Futurama, Jessie, Marvel Studios: Legends, Marvel's Agents of S.H.I.E.L.D., New Girl, Phineas and Ferb, Puppy Dog Pals, Scrubs, Star Wars, The Right Stuff, War on the Worlds Source: Flixpatrol, 05.2022 On Disney+, the most-watched TV shows are commonly from USA, as high as 93% of the total. The other two major countries of origin, UK and New Zealand, are from the Anglosphere too. Table S5_14 Disney+ TV Shows Country/Countries of origin TV Shows (n= 139) Country Mentions % 151 93 United Kingdom 7 4 New Zealand 4 3 162 100 United States TOTAL Source: IMDb, January, 2023 Only one of the major producing countries of geographically European, the UK, though it is no longer a Member State of the EU. 150 Table S5_15 Disney+ TV Shows NON-EUROPEAN and EUROPEAN Countries % Number of countries % of countries NON-European 2 67 European 1 33 Total 3 100 A significant percentage of the mentioned languages is English (79%). Spanish is the second most mentioned language, with only 6.25%, which is nearly 13 times less than the top language. Table S5_16 Language of the Disney+ TV Shows (n=192) N Language N % 1 English 151 78,65 2 Spanish 12 6,25 3 Chinese 9 4,70 4 American Sign Language 8 4,16 5 Italian 5 2,60 6 Persian 5 2,60 7 French 1 0,52 8 German 1 0,52 192 100 Total per country Source: IMDb, January, 2023 On Table S5_17 we can see the comparison between the Tv-shows available in English and national language on Disney+. Half of the countries - Belgium, Portugal and Sweden - do not have any TV-show in their own language. In Spain, 7% TV-Shows are offered by Disney+ also in Spanish, although 100% of the TV-Shows are in English. 151 Table S5_17 Disney+ TV Shows English and National language 125 100 75 100 100 97 95 100 100 50 25 0 5 Belgium Germany 3 0 7 0 0 Italy Portugal % English Language Spain Sweden % National Language The preferred genres are in accordance with the general trend, that we have observed while studying the offer of movies and TV Shows in the other platforms. On the top are Dramas, Comedy, Animation, Sci-Fi, and Action. Although Disney+ is well-known as a family brand, Family is only the sixth genre, with only 3.86% of the most watched Tv programs. Table S5_18 TV Shows GENRES Reported by Disney+ (n=207) N GENRE Number % 1 TV Dramas 34 16,43 2 Comedy 27 13,04 3 Animation 26 12,56 4 Sci-Fi TV 16 7,73 5 Action 12 5,80 6 Family 8 3,86 7 Documentary 7 3,38 8 Superheroes 7 3,38 9 Horror 6 2,90 10 Kid’s TV 5 2,42 11 Action & Adventure 4 1,93 12 Crime 4 1,93 13 Adult 3 1,45 14 History 3 1,45 15 Law 3 1,45 152 Table S5_18 TV Shows GENRES Reported by Disney+ (n=207) N GENRE Number % 16 Marvel 3 1,45 17 Romance 3 1,45 18 Space opera 3 1,45 19 Survival 3 1,45 20 Anthology 2 0,97 21 Biography 2 0,97 22 Doctors 2 0,97 23 Medical 2 0,97 24 Music 2 0,97 25 Police 2 0,97 26 Sitcom 2 0,97 27 Soap/Melodrama 2 0,97 28 TV Mysteries 2 0,97 29 1 0,48 30 Drugs 1 0,48 31 For girls 1 0,48 32 Friendship 1 0,48 33 Infant 1 0,48 34 Parody 1 0,48 35 Postapocalypse 1 0,48 36 Romantic comedies 1 0,48 37 Sex 1 0,48 38 Teen 1 0,48 39 Zombies 1 0,48 N/A 1 0,48 207 100 Animals and Nature On Table S5_19 we compare films and TV Shows on Disney+. Firstly, we can see that TV shows are two third of the number of films in the platform. The nations of origin of all TV Shows are just three, compared to eleven producing countries in the case of films. The percentage TV 153 Shows produced in European countries is just 3%, comparing to 55% in the case of films. Differently from other VIOD providers, in Disney+ the TV shows are available in much less languages (8) than the films (28). 10.2% of the films are offered in the national language, and in TV Shows that percentage is only 3%. The number of genres in TV Shows is higher than in films, although the number of films is higher than the number of TV Shows. Table S5_19 Comparing FILM v/s TV Shows on Disney+ Characteristic FILMS TV Shows Number of Films/TV Shows 69 47 Number of countries of origin 11 3 55% 3% 28 8 10,2% 3% 27 39 % of European countries of origin Number of Languages % National language Number of Genres Digital TV Research predicts that Disney+ will add 20 million European subscribers by 2027, to reach a total of 46 million.75 The forecast is that Netflix will remain the leader, followed by Amazon Prime, and Disney+ will be on third place76. Table S5_20 Western EUROPE SVOD subscriptions by platform in 2027 75 Benjamin, Jack, Europe to add ’73m SVOD subs amid Disney+ surge, The Media Leader, https://the-medialeader.com/europe-to-add-73m-svod-subs-amid-disney-surge/, 17.02.2023 76 Data from Benjamin, Jack, Europe to add ’73m SVOD subs amid Disney+ surge, The Media Leader, https://themedia-leader.com/europe-to-add-73m-svod-subs-amid-disney-surge/, 17.02.2023 154 6.3 HBO TV Shows SkyShowtime, a European streaming service jointly operated by Comcast and Paramount, has swooped in to acquire the exclusive streaming rights to 21 local HBO Max shows across Europe.77 SkyShowtime will eventually be available in 22 European markets. The deal is part of the attempts made by HBO Max’s new parent company, Warner Bros. Discovery, to find around $3.5 billion in cost savings after its merger in April 2022.78 Data in our analysis is for HBO, as in the researched period HBO was the platform, available in the countries in the project. In five of the countries - Bulgaria, Czech Republic, Portugal, Spain, and Sweden - HBO is in the top 3 platforms for TV Shows according to data from Flixpatrol. Table S5_21 Number of TV Shows in the 5 countries on HBO platforms N 1 HBO BG CZ PT ES SE Total Average N per platform N of countries 24 20 23 17 19 103 21 5 Source: Flixpatrol, 05.2022 The average number of TV shows per country is small, comparing to Netflix (53) and nearly the same comparing to Disney+ (25.5). Table S5_22 Number of NETFLIX TV Shows (no repetition) N of repetitions N of TV SHOWS Total N of TV Shows % 5 7 35 17 4 3 12 7 3 7 21 17 2 10 20 24 1 15 15 35 TOTAL 42 103 100 77 Porter, Jon, HBO Max offloads European shows to Comcast and Paramount, The Verge, https://www.theverge.com/2023/1/10/23548061/hbo-max-skyshowtime-comcast-paramount-europeanstreaming-wars, 17.02.2023 78 Porter, Jon, HBO Max offloads European shows to Comcast and Paramount, The Verge, https://www.theverge.com/2023/1/10/23548061/hbo-max-skyshowtime-comcast-paramount-europeanstreaming-wars, 17.02.2023 155 On Table S5_23 is the list with all 42 TV shows on HBO for the researched 17-week period. Table S5_23 Selected TV Shows on HBO in 5 countries (n=42) REPETITION Title of the films on HBO 5 And Just Like That…, Euphoria, Friends, Game of Thrones, Gossip Girl, Sex and the City, The Big Bang Theory 4 A Discovery of Witches, Rick and Morty, The Walking Dead, 3 Billions, Britannia, Gomorrah, Legacies, Raised by Wolves, The Vampire Diaries, The Wire 2 Beforeigners, Manifest, Station Eleven, Succession, Superman & Lois, The Handmaid's Tale, The North Water, The Sopranos, The Watch, Young Sheldon 1 Ballers, Chapelwaite, Claws, Dexter, Dexter: New Blood, Everything Else, Gossip Girl 2021, Killing Eve, Love Life, My Brilliant Friend, Scenes From a Marriage, The Gilded Age, The Great, The Middle, Todo lo otro USA and UK are the most common countries of origin, and USA accounts for over 75% of the total productions. Italy is on third place with 3.39%. which is 23 times less percentage than the one of USA. European countries account for 71% of all mentioned producing countries, but – once again - in most of the cases they are co-producers in cooperation with USA companies. Table S5_24 HBO TV Shows Country/Countries of origin TV Shows (n= 118) Country Mentions % 1 United States 92 77,97 2 United Kingdom 15 12,71 3 Italy 4 3,39 4 Germany 2 1,69 5 Norway 2 1,69 6 Spain 2 1,69 156 Table S5_24 HBO TV Shows Country/Countries of origin TV Shows (n= 118) Country 7 Mentions % Canada 1 0,85 TOTAL 118 100 Source: IMDb, January, 2023 European countries of origin are 71% of all mentioned countries, but European countries in most of the cases are co-producers with USA. Table S5_25 HBO TV Shows NON-EUROPEAN and EUROPEAN Countries % Number of countries % of countries NON-European 2 29 European 5 71 Total 7 100 Italian and Spanish are in list of the three most used 3 languages on the platform, but the sum of their percentages (8.43% + 5.05%) is 4 time small than the percentage of English language. Table S5_26 HBO TV Shows Language of the movies (n=179) N Language N % 1 English 96 53,63 2 Italian 15 8,38 3 Spanish 9 5,03 4 Mandarin 8 4,47 5 Greek 7 3,92 6 Russian 7 3,92 7 Hindi 5 2,79 157 Table S5_26 HBO TV Shows Language of the movies (n=179) N Language N % 8 Klingon 5 2,79 9 Dutch 4 2,23 10 French 4 2,23 11 German 4 2,23 12 Hebrew 4 2,23 13 Neapolitan 4 2,23 14 Welsh 3 1,68 15 Norse, old 2 1,12 16 Norwegian 2 1,12 179 100 Total Source: IMDb, January, 2023 In four of the five countries on HBO, the top-10 Tv shows are not available in national language, in the period 01.11.2021 - 27.02.2022. Spain is the only country where popular contents are available in national language, and the only one with 100% TV Shows in English. Table S5_27 HBO TV Shows English and National language 125 100 75 100 96 90 87,5 95 50 25 0 0 0 18 0 0 Bulgaria Czech Portugal % English Language Spain Sweden % National Language As in the case of the movie releasing, in HBO there is not always mention to the genres of the TV -shows. For TV shows the percentage of missing genres is 16.90%, which is the second biggest percentage in our dataset. 158 Table S5_28 TV Shows GENRES Reported by HBO (n=142) N GENRE Number % 1 TV Dramas 37 26,06 2 N/A 24 16,90 3 Comedy 23 16,20 4 Action 10 7,04 5 Crime 10 7,04 6 Adventure 7 4,93 7 Romance 7 4,93 8 Fantasy TV Shows 5 3,52 9 Sci-Fi TV 4 2,82 10 TV Thrillers 4 2,82 11 3 2,11 12 Family Watch Together TV 2 1,41 13 Horror 2 1,41 14 TV Mysteries 2 1,41 15 Biography 1 0,70 16 Sport 1 0,70 142 100 Animation Total Source: HBO, October, 2023 As to the variety of what people watch, in HBO the number of TV shows in the top-10 list is over three times smaller than the number of films. Possibly due to the transition from HBOgo to HBO MAX significant percentage of films and TV shows have no genre description on the platform. Although from the available data we can see no difference in the viewers preferences across all platforms. The same is true for the number of countries of origin, and for the number of languages. The average percentage of Tv-shows available in the national language is nearly the same for films and TV shows. 159 Table S5_29 Comparing FILM v/s TV Shows on HBO Characteristic FILMS TV Shows Number of Films/TV Shows 159 42 Number of countries of origin 28 7 % of European countries of origin 57% 71% Number of Languages 41 16 Average % of National language 4,8% 3,6%* Number of Genres 8** 16*** * Only Spain has National language (18%) ** for 73,62% of the Films genre is not available *** for 16,9% of the TV Shows genre is not available One thing is sure: the future of HBO Max is uncertain and a topic in many rumors on the platform’s market. There is a number of publications, about the intentions of Warner Bros. Discovery to consolidate their streaming platforms HBO Max and Discovery+.79 79 Lindert, Hattie, The future of HBO Max grows more uncertain amid merger and layoff rumors, AV Club, https://www.avclub.com/the-future-of-hbo-max-grows-more-uncertain-amid-rumors-1849367746, 17.02.2023 160 6.4 Amazon Prime Video TV Shows According to data from JustWatch, industry pioneer Netflix is no longer the subscription video on Demand (SVOD) market leader, as of Q4 2022 in the USA.80 Amazon Prime Video came in as the number one streaming service, holding only a 1% lead from Netflix, which came in at number 2 as of Q4 2022 in USA market. In Europe, Amazon Prime Video is the market leader only in Germany,81 whilst in the rest of Europe Netflix is still market leader. For the researched period, in three of the countries in the project Amazon Prime is in top 3 platforms, according to data from Flixpatrol. The average number of most-watched TV shows per country is 19, which is the lowest from all platforms for TV shows. Table S5_30 Number of TV Shows in the 3 countries on Amazon Prime N 1 Amazon Prime CZ IT TR Total Average N per platform N of countries 23 34 1 58 19 3 Source: Flixpatrol, 05.2022 One fourth of the TV shows have appeared twice in top 10, and 74% are the in top only once. Table S5_31 Number of Amazon Prime TV Shows no repetition N of repetitions N of TV SHOWS Total N of TV Shows % 2 12 24 26 1 34 34 74 TOTAL 46 58 100 On Table S5_32 we sort out all the TV Shows without repetitions for the mentioned period. Garfinkle, Madeline, This Streaming Service Beat Netflix as the No. 1 One Market Leader in the U.S., Entrepreneur, https://www.entrepreneur.com/business-news/amazon-prime-barely-beat-netflix-as-topstreamer-for-q4/443472, 17.02.2023 81 Abbatescianni, Davide, Amazon Prime Video is now the market leader in Germany, says Ampere Analysis, Cineurope, https://cineuropa.org/en/newsdetail/1369/421193/, 17.02.2023 80 161 Table S5_32 Selected TV Shows on Amazon Prime in 3 countries (n=46) REPETITION Title of the TV Shows 2 All or Nothing: Juventus, Hanna, I Know What You Did Last Summer, Maradona: Blessed Dream, Nine Perfect Strangers, Reacher, The Expanse, The Ferragnez, The Grand Tour, The Legend of V ox Machina, The Wheel of Time, Upload 1 Alex Rider, All or Nothing: Toronto Maple Leafs, As We See It, Barbapapa: One Big Happy Family!, Carnival Row, Champions League Bonus Content, Chicago Med: Season 1, Clarkson's Farm, Dinner Club, Fairfax, Fear the Walking Dead, Good Omens, Grey's Anatomy, Harlem, Hunter x Hunter, Il cacciatore, Invincible, James May: Our Man In Japan, Little Pollon, LOL: Last One Laughling Italy, Monterossi - La serie, Motherland: Fort Salem, Riverdale, Sex, Uncut - L'amore e il sesso fuori copione, Star Trek: Picard, The Big Bang Theory, The Good Doctor, The Great Escapists, The Marvelous Mrs. Maisel, The Walking Dead: World Beyond, This Is Us, Tom Clancy's Jack Ryan, Tutta colpa di Freud, Vita da Carlo On all the observed platforms, the second producing country for both films and TV shows is UK. The two exceptions are the TV-shows on Netflix, in which South Korea is on the second place with 9%; and the Tv-shows in Amazon Prime, in which the second place is for Italy with 13.43%. Table S5_33 Amazon Prime TV Shows Country/Countries of origin TV Shows (n=67) Country Mentions % 1 United States 39 58,21 2 Italy 9 13,43 3 United Kingdom 7 10,45 4 Argentina 3 4,48 5 Canada 3 4,48 6 France 2 2,98 162 Table S5_33 Amazon Prime TV Shows Country/Countries of origin TV Shows (n=67) Country Mentions % 7 Germany 2 2,98 8 Japan 2 2,98 Total 67 100 Source: IMDb, January, 2023 Half of the countries of origin are from Europe, exactly 50% overall. Table S5_34 Amazon Prime TV Shows NON-EUROPEAN and EUROPEAN Countries % Number of countries % of countries NON-European 4 50 European 4 50 Total 8 100 On the top of mentioned languages is English with 64.71%, followed by Italian and French. The total number of mentioned languages is 11. Table S5_35 Amazon Prime TV Shows Language of the movies (n=68) N Language N % 1 English 44 64,71 2 Italian 11 16,18 3 French 2 2,94 4 Japanese 2 2,94 5 Russian 2 2,94 163 Table S5_35 Amazon Prime TV Shows Language of the movies (n=68) N Language N % 6 Spanish 2 2,94 7 Arabic 1 1,47 8 German 1 1,47 9 Hindi 1 1,47 10 Mandarin 1 1,47 11 Turkish 1 1,47 68 100 Total Source: IMDb, January, 2023 In two countries, the most successful TV-shows are not released in the national language. The percentage of programs available in national language in Italy is relatively high, 24, comparing to the same percentage for the other countries. Table S5_36 Amazon Prime TV Shows English and National language N COUNTRY % English Language % National Language 1 Czech Republic 91 0 2 Italy 65 24 3 Turkey 100 0 The most popular genre on Amazon Prime is Drama. The difference with all other the platforms is in the second popular genre, which is the Documentary Films (12.5%). Table S5_37 TV Shows Genres Reported by Amazon Prime (n=64) N GENRE Number % 1 Dramas 9 14,06 2 Documentary Films 8 12,5 3 Comic 6 9,38 4 Comedies 6 9,38 164 Table S5_37 TV Shows Genres Reported by Amazon Prime (n=64) N GENRE Number % 5 Sci-Fi Movies 6 9,38 6 Animation 5 7,81 7 Mystery 4 6,25 8 Reality TV 3 4,69 9 Suspense 3 4,69 10 Fantasy 2 3,13 11 Sports Movies 2 3,13 12 Unscripted 2 3,13 13 Young Adult Audience 2 3,13 14 Action Movies 1 1,56 15 Adventure Movies 1 1,56 16 Horror Movies 1 1,56 17 Kids 1 1,56 18 Talk show 1 1,56 19 Thriller Movies 1 1,56 64 100 Films on Amazon Prime have bigger variety in numbers, country of origin, languages, and genres. TV Shows are mainly available in English. Italy has a high percentage of Tvshows in national language for TV Shows, but the other two counties have zero percentage. European countries are more than a half of the producing countries but – as is common in all VOD platforms – they are usually co-producers, often in collaboration with American companies. Table S5_39 Comparing FILM v/s TV Shows on AMAZON Prime Characteristic FILMS TV Shows Number of Films/TV Shows 139 46 Number of countries of origin 25 8 % of European countries of origin 64% 50% Number of Languages 38 11 165 Table S5_39 Comparing FILM v/s TV Shows on AMAZON Prime Characteristic FILMS TV Shows Average % of National language 15,7% 8%* Number of Genres 53 19 * Only Italy has National language (24%) According to data from Enterprise Apps Today, the trend in revenues for Amazon Prime Video is only to grow in last four years - $3.53 billion in 2019, $4.1 billion in 2020, $4.63 billion in 20219. and $5.16 billion in 2022.82 The platform’s long-term goal is to be in the position to compete against other mainstream channels and attract new video-only members to join. Georgiev, Deyan, 15 Amazon Prime Statistics to Show How Big https://techjury.net/blog/amazon-prime-statistics/#gref, 17.02.2023 82 166 It Is In 2023, TechJury, 6.5 iTunes TV Shows Germany is the only country for which the data about films and TV shows on iTunes are detailed on FlixPatrol. Over the 17 weeks of our analysis (01.11.2021-27.02.2022), there are 61 single TV-shows, included in the in Top-10 watched list in Germany. Table S5_40 Number of TV Shows in one country on iTunes N 1 iTunes DE Total Average N per platform N of countries 61 61 61 1 Source: Flixpatrol, 05.2022 Table S5_41 Number of iTunes TV Shows no repetition N of repetitions N of TV SHOWS Total N of TV Shows % 1 61 61 100 TOTAL 61 61 100 On Table S5_42 is a list of all 61 TV shows in Germany. Table S5_42 Selected TV Shows on iTunes in 1 country (n=61) REPETITION Title of the films on NETFLIX 1 A Discovery of Witches, American Horror Story, And Just Like That…, Around the World in 80 Days, Band of Brothers, Battlestar Galactica, Billions, Boardwalk Empire, Brooklyn Nine-Nine, Candice Renoir, Chernobyl, Chicago Fire, DC's Legends of Tomorrow, Dead Mountain / The Dyatlov Pass Incident, Dexter: New Blood, Doctor Who, Emil i Lönneberga, Endeavour, Euphoria, Eureka, Family Guy, Father Christmas, Frank Herbert's Children of Dune, Frank Herbert's Dune, Game of Thrones, Grey's Anatomy, Grimm, Hotel Adlon, LEGO Ninjago/Masters of Spinjitzu, Lucifer, Magnum P.I., Midsomer Murders, Monk, Mr. Robot, NCIS, New Amsterdam, Nikita, Pennyworth: The Origin of Batman's Butler, Psych, Queen of the South, Rome, Sharp Objects, Sisi, Star Trek/Discovery, Succession, Superman & Lois, The A-Team, The Big Bang Theory, The Blacklist, The Event: Inside Wolfgang, Puck Catering, The Flintstones, The Good Doctor, The Pembrokeshire Murders, The Pillars of the Earth, The Rookie, The Sopranos, This Is Us, Vigil, Yellowstone, Your Honor, Zwei Weihnachtsmänner 167 USA and UK are once again the top producing countries, followed by Germany (8.97%). What attracts attention, is the presence in country of origin of Yugoslavia. The Socialist Federal Republic of Yugoslavia was dissolved in April 1992. That means that on iTunes in Germany there is a TV show, produced before 1992, which is an exception of the trend only films and TV series produced in the last three years to get to top 10. Table S5_43 iTunes TV Shows Country/Countries of origin TV Shows (n=78) Country Mentions % 1 USA 45 57,69 2 UK 13 16,67 3 Germany 7 8.97 4 Canada 2 2.56 5 France 1 1.28 6 Spain 1 1.28 7 Denmark 1 1.28 8 Mexico 1 1.28 9 Hungary 1 1.28 10 Austria 1 1.28 11 Italy 1 1.28 12 Yugoslavia 1 1.28 13 Russia 1 1.28 14 Sweden 1 1.28 15 Malta 1 1.28 Total 78 100 Source: IMDb, January, 2023 On Table S5_44 Yugoslavia is one of the European countries, which count for 80% of all the mentioned countries of origin of successful Tv-shows. 168 Table S5_44 iTunes TV Shows NON-EUROPEAN and EUROPEAN Countries % Number of countries % of countries NON-European 3 20 European 12 80 Total 15 100 English is the most mentioned language with nearly 60%, followed by German (6.38%) and French (5.32%). Klingon and Ancient Egyptian are the rare languages in the list. Table S5_45 iTunes TV Shows Language of the movies (n=94) N Language N % 1 English 56 59,57 2 German 6 6,38 3 French 5 5,32 4 Russian 5 5,32 5 Arabic 2 2,13 6 Chinese / Mandarin 2 2,13 7 Danish 2 2,13 8 Italian 2 2,13 9 Klingon 2 2,13 10 Swedish 2 2,13 11 Dutch 1 1,06 12 Egyptian (Ancient) 1 1,06 13 Hindi 1 1,06 14 Japanese 1 1,06 15 Latin 1 1,06 16 Lithuanian 1 1,06 17 Persian 1 1,06 18 Samoan 1 1,06 19 Spanish 1 1,06 169 Table S5_45 iTunes TV Shows Language of the movies (n=94) N 20 Language N % Ukrainian 1 1,06 Total 94 100% Source: IMDb, January, 2023 Although German is the second language by number of mentions on iTunes Germany, only 9.8% of TV Shows included in the top-10 are available in the national language. Table S5_46 iTunes TV Shows English and National language N COUNTRY % English Language % National Language 1 Germany 91,80% 9,80% Drama, Crime and Comedy are the top 3 genres on the platform for Germany. Case of the week and Space opera are also presented as TV Shows genre, available only on iTunes platform. Table S5_47 TV Shows Genres Reported by iTunes (n=109) N GENRE Number % 1 Drama 23 21,1 2 Crime 15 13,76 3 Comedy 7 6,42 4 Sci-Fi 6 5,5 5 Action 4 3,67 6 Animation 4 3,67 7 History 4 3,67 8 Case of the week 4 3,67 9 Space opera 4 3,67 10 Superhero 3 2,75 11 3 2,75 12 Doctors 3 2,75 13 Mystery 2 1,83 Business 170 Table S5_47 TV Shows Genres Reported by iTunes (n=109) N GENRE Number % 14 Fantasy 2 1,83 15 Family 2 1,83 16 War 2 1,83 17 Gangsters 2 1,83 18 Thriller 1 0,92 19 Adventure 1 0,92 20 Romance 1 0,92 21 Horror 1 0,92 22 Buddies 1 0,92 23 Adult 1 0,92 24 For boys 1 0,92 25 For older kids 1 0,92 26 Fashion 1 0,92 27 Sitcom 1 0,92 28 Murder 1 0,92 29 Serial killer 1 0,92 30 Submarines 1 0,92 31 Documentary 1 0,92 32 Food 1 0,92 33 Disaster 1 0,92 34 Drugs 1 0,92 35 Firefighters 1 0,92 36 Teens 1 0,92 109 100 Total 171 Table S5_48 Comparing FILM v/s TV Shows on AMAZON Prime Characteristic FILMS TV Shows Number of Films/TV Shows no repetitions 158 61 Number of countries of origin 24 15 58% 80% 37 20 10,8% 9,8%* 35 36 % of European countries of origin Number of Languages Average % of National language Number of Genres * Only Germany in analysing TV Shows on iTunes 172 6.6 Summary of TV Shows on VOD platforms in the ten countries For all countries represented in the project, we used data from Flixpatrol to compare the top 3 platforms per each country. On FlixPatrol there is no distinction between films and TV shows on iTunes for the researched period, with the exception of Germany. On Table S5_50 we compare the number of countries in which the platforms are in top 3 since 01.11.2021 till 27.02.2023. As we see. Netflix is the platform with the highest number of countries and iTunes with just one. Table S5_49 N of countries in which the platform is in top 3 N of countries for the platform NETFLIX Disney+ HBO Amazon Prime iTunes 10 6 5 3 1 Source: Flixpatrol, 2022 Table S5_50 showcases the number of top-watched Tv-shows. On the top is Netflix with 142, followed by iTunes (only Germany) and the other three platforms are with nearly the same number of TV Shows. Table S5_50 N of TV Shows without repetition for each platform NETFLIX N of TV Shows without repetition 142 Disney+ HBO Amazon Prime iTunes 47 42 46 61 Source: Netflix, Flixpatrol, 2022 173 Table S5_51 Average number of TV Show per country NETFLIX N of TV Shows without repetition 53 Disney+ HBO Amazon Prime iTunes 25,5 21 19 61 Source: Netflix, Flixpatrol, 2022 Table S5_52 Highest number of TV Show repetitions Highest number of TV Shows repetitions NETFLIX Disney+ HBO Amazon Prime 10 6 2 5 iTunes Only Germany Source: Netflix, Flixpatrol, 2022 Table S5_53 % of TV Shows with highest number of repetitions % of f TV Shows with highest number of repetitions NETFLIX Disney+ HBO Amazon Prime 15% 17% 26% 28% iTunes Only Germany Source: Netflix, Flixpatrol, 2022 The only platform in which the difference is significant is Amazon Prime Video with 74% of TV shows only once during the period of 17 weeks in top 10. 174 Table S5_54 % of TV Shows in top 10 only once % of TV Shows in top 10 only one time NETFLI X Disney+ HBO Amazon Prime 45% 32% 35% 74% iTunes Only Germany Source: Netflix, Flixpatrol, 2022 Table S5_55 Countries of origin NETFLIX Disney+ HBO Amazon Prime iTunes First Country of origin USA USA USA USA USA % of the First country of origin 56,7% 93% 77,97% 58,21% 57,69% Second Country of origin South Korea UK UK Italy UK % of the Second country of origin 7,1% 4% 12,71% 13,43% 16,67% Third Country of origin UK New Zealand Italy UK Germany % of the Third country of origin 5,51% 3% 3,39% 10,45% 8,97% Number of Country of origin 24 3 7 8 15 Source: IMDb, January, 2023 USA is the top country of origin for all platforms. Unlike films, with TV series the second place is not always for UK. South Korea (Netflix) and Italy (Amazon Prime) are on the second place with comparable percentages to UK. Italy, Germany, and New Zealand, together with UK, occupy the third place for TV Shows. What these data seem to suggest, is that Tv-shows contents are more country-specific than the movie contents, at last if we stick to the big picture. When it comes to the diversity of producing countries, Disney+ is on the bottom, with only 3 countries, and USA accounting for 93% of the tiles the platform. Netflix and iTunes offer the biggest variety of countries of origin, which means that on these platforms there it is common to find TV shows produced in partnership with different countries. 175 Table S5_56 % European Countries of origin % European Countries of origin NETFLIX Disney+ HBO Amazon Prime iTunes 54% 33% 71% 50% 80% Source: IMDb, January, 2023 English is top mentioned language on all platforms. With two second places are Spanish and Italian, and German with one. Disney+ is leading by the percentage of English as first language – 78.65% - and Netflix is on the other end with 32,14%. Russian language appears on Third place on Amazon Prime Video and iTunes. For all platforms, the percentage of the languages on third place is so much smaller than the one of English and the second languages, that all comparisons are with no relevant value. With no doubt the variety of languages with dubbing is a proposition which will attract more viewers. Language preferences are rooted in culture and education. Respondents in Russia, Germany, Italy, Spain and France largely preferred dubbing when viewing content not in their native language, while roughly 7 in 10 adults in China and South Korea and a plurality of Indian and Japanese consumers said they liked to watch with subtitles more.83 Table S5_57 TOP 3 Mentioned Languages on Platforms for TV shows NETFLIX Disney+ HBO Amazon Prime iTunes First Language English English English English English % of the First Language 59,06% 78,65% 53,63% 64,71% 59,57% Second Language Spanish Spanish Italian Italian German % of the Second Language 9,28% 6,25% 8,38% 16,18% 6,38% 83 The International Content Boom Has Made Subtitlers and Dubbers the Lifeblood of Streaming, Morning Consult, https://morningconsult.com/2022/04/25/subtitles-dubbing-streaming/, 17.02.2023 176 Table S5_57 TOP 3 Mentioned Languages on Platforms for TV shows NETFLIX Disney+ HBO Amazon Prime iTunes Korean Chinese Spanish French, Japanese, Russian, Spanish % of the Third Language 6,84% 4,7% 5,03% 2,94% 5,32% Number of languages 31 8 16 11 20 Third Language French, Russian Source: IMDb, January, 2023 Data from Morning Consult, from a Surveys conducted March 3-8, 2022, shows clearly that Europe likes the dubbing, and Asia prefers subtitles. Respondents were asked how they prefer to consume content on streaming services when it’s not in their native language. That means that if platforms want to have more market shares in Europe, they have to invest in dubbing content. The percentage of Tv-shows available in national language is very low, except for Italy on Amazon prime. Table S5_58 Average % of National Language for TV Shows NETFLIX Average % of National Language 7,1% Disney+ HBO Amazon Prime iTunes 2,5% 3,6% 8%* 9,8% *Only Italy has National language of 24% Source: IMDb, January, 2023 Drama is the most preferred genre in all platforms. The difference with films is the second place for Documentary on Amazon Prime Video. We have to notice that in all platforms films and TV shows are labeled with more than one genre. Each platform has its own catalogue of genres, different from each other, and also hardly comparable with those of such services as MUBI or IMBD. 177 Table S5_59 TOP 3 TV Show GENRES on Platforms NETFLIX Disney+ HBO Amazon Prime iTunes Number of Genres 63 39 16 19 36 First Genre Dramas Dramas Dramas Dramas Dramas % of the First Genre 20,36% 16,43% 26,06% 14,06% 21,1% Second Genre Crime Comedy Comedy Documentary Crime % of the Second Genre 10,38% 13,04% 16,20% 12,5% 13,76% Third Genre Action, Mysteries Animation Action, Crime Comic, Comedies, SciFi Comedy 8,04% 12,56 7,04% 9,38% 6,42% % of the Third Genre Source: Netflix, Disney+, HBO, iTunes, Amazon Prime Video, Google Play, 2022 The Deloitte study on future scenarios for the TV and video industry indicates that, by 2030, market players need to be ready for and include four scenarios: Scenario 1: Universal Supermarket, Scenario 2: Content Endgame, Scenario 3: Revenge of the Broadcasters and Scenario 4: Lost in Diversity. 84 We do not know which scenario will happen or what combination of those scenarios will happen. But for sure we know that behind all VOD platforms there is other main business of the owners of the platform. For Netflix - this is streaming. For Disney+ the films, TV series and streaming channel is part of the marketing strategy for selling amusement parks experience and consumer products. In the case of Amazon, Prime Video is much used as an incentive for the 200 million Amazon Prime members around the world. Media are speculating about exactly how big is Warner Bros. Discovery’s debt problem.85 The challenge for Warner is to understand where its winning asset 84 Future scenarios for the TV and video industry by 2030, Deloitte, https://www2.deloitte.com/de/de/pages/technology-media-and-telecommunications/articles/future-of-tvvideo.html, 17.02.2023 85 Benjamin, Jack, Just how big is Warner Bros. Discovery’s debt problem?, The Media Leader, https://the-medialeader.com/just-how-big-is-warner-bros-discoverys-debt-problem/, 17.02.203 178 is, and how this new platform can make it stronger. As to Apple, according to a new report from Bloomberg, it is developing an Apple TV with a faster processor. The set-top box will have a new chip, and it is slated to come out in the first half of 2024.86 As we can see big platforms are part of a bigger business. The European Union mandated foreign streaming services — starting in 2021 — carry at least 30% European production, but that is just a step to get more European content on platforms. The second step is to promote this content to viewers in the platform at least as aggressively as others. And there is always another way of getting Europe on the screens - by coproduction and partnerships with platforms. Gurman, Mark, Apple to Expand Smart-Home Lineup, Taking On Amazon and Google, Bloomberg, https://www.bloomberg.com/news/articles/2023-01-18/apple-to-expand-smart-home-lineup-taking-onamazon-and-google, 17.02.2023 86 179 7. Section 6 - Public Service Media platforms The presence and the impact of Public Service Media platforms in the researched countries was explored by seven of the ten partners. The provided data varied widely - Czech Republic submitted information about both Czech Television and Radio while other partners provided data only about television channels' platforms or a common PSMs. Five partners presented results of the VOD service of their national PSM; The Czech Republic's data encompassed also YouTube, Twitter, Instagram and TikTok channels while Bulgaria delved information on the YouTube channel of their PSM and two websites of the Bulgarian National Television with audio-visual content. 7.1 Country of origin of films Belgium, Greece, Germany, Czech and Turkey provided information about the country of origin of films in the VOD service of their national PSMs. In Belgium and Greece, the biggest number of films is from USA; Turkey, Czech and Germany have dominantly national production. UK and France are also well represented. From the total of 579 films, 333 are produced in EU member country. Turkey has the highest number (30) of countries of origin. Table S6_1 Frequency of the Country-of-origin PSM Films Greece Belgium Turkey Germany Czech Country n % n % n % n % n % N Argentina 1 1.67 0 0.00 0 0.00 1 0.69 0 0 2 Australia 1 1.67 0 0.00 0 0.00 0 0.00 0 0 1 Austria 0 0.00 0 0.00 0 0.00 4 2.76 1 0.47 5 Azerbaijan 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 Belgium 3 5.00 9 11.84 2 2.41 2 1.38 3 1.4 19 Bosnia 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 Brazil 0 0.00 1 1.32 2 2.41 0 0.00 0 0 3 Bulgaria 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 180 TOTAL Table S6_1 Frequency of the Country-of-origin PSM Films Canada 1 1.67 3 3.95 0 0.00 0 0.00 0 0 4 Cambodia 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 China 0 0.00 3 3.95 0 0.00 0 0.00 1 0.47 4 Columbia 0 0.00 0 0.00 1 1.20 0 0.00 0 0 Czech 0 0.00 0 0.00 0 0.00 0 0.00 45 20.9 45 Czechoslovakia 0 0.00 0 0.00 0 0.00 0 0.00 55 25.6 55 Cyprus 1 1.67 0 0.00 0 0.00 0 0.00 0 0 Denmark 0 0.00 5 6.58 0 0.00 1 0.69 1 0.47 7 Finland 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 France 13 21.67 11 14.47 8 9.64 45 31.03 30 14 107 Germany 3 5.00 2 2.63 1 1.20 61 42.07 7 3.26 74 Greece 5 8.33 0 0.00 0 0.00 0 0.00 0 0 5 Hong Kong 1 1.67 0 0.00 0 0.00 0 0.00 0 0 1 Hungary 0 0.00 1 1.32 1 1.20 0 0.00 0 0 2 Iran 0 0.00 0 0.00 2 2.41 0 0.00 0 0 2 Italy 0 0.00 1 1.32 1 1.20 3 2.07 23 10.7 28 Japan 0 0.00 1 1.32 0 0.00 0 0.00 0 0 1 Kosovo 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 Luxembourg 0 0.00 0 0.00 0 0.00 1 0.69 0 0 1 Mexico 1 1.67 0 0.00 1 1.20 0 0.00 0 0 2 Mozambique 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 N. Macedonia 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 Norway 0 0.00 1 1.32 1 1.20 2 1.38 0 0 4 Poland 1 1.67 0 0.00 0 0.00 1 0.69 1 0.47 3 Portugal 1 1.67 0 0.00 1 1.20 0 0.00 0 0 2 Qatar 0 0.00 0 0.00 1 1.20 0 0.00 0 0 1 Romania 0 0.00 1 1.32 0 0.00 0 0.00 1 0.47 2 Russia 0 0.00 0 0.00 2 2.41 0 0.00 0 0 2 Singapore 0 0.00 0 0.00 1 1.20 1 0.69 0 0 2 Slovakia 0 0.00 0 0.00 0 0.00 0 0.00 4 1.86 4 South Africa 0 0.00 0 0.00 1 1.20 1 0.69 0 0 2 181 1 1 Table S6_1 Frequency of the Country-of-origin PSM Films South Korea 1 1.67 0 0.00 0 0.00 0 0.00 0 0 Spain 2 3.33 2 2.63 2 2.41 2 1.38 6 2.79 14 Sweden 0 0.00 4 5.26 1 1.20 2 1.38 1 0.47 8 Switzerland 0 0.00 1 1.32 0 0.00 1 0.69 0 0 0 0.00 2 2.63 1 1.20 0 0.00 0 0 Turkey 0 0.00 0 0.00 36 43.37 1 0.69 0 0 UK 8 13.33 9 11.84 2 2.41 10 6.90 8 3.72 37 17 28.33 19 25.0 0 6 7.23 6 4.14 26 12.1 Vietnam 0 0.00 0 0.00 1 1.20 0 0.00 0 0 Yugoslavia 0 0.00 0 0.00 0 0.00 0 0.00 2 0.93 2 N 60 100 76 100 83 100 145 100 215 100 The Netherlands USA 1 2 3 37 74 1 579 7.2 Original Language of the Film Four countries provided information about the original language of the films. In Greece, and Belgium most films are in English. In Germany and Czech almost 60% of the films are in the national language. The second language in Belgium and Greece is French and in Germany and Czech is English. Table S6_2 Frequency of original language on PSM Fims Greece Belgium Germany Czech TOTAL Country n % n % n % n % N Arabic 1 1.54 1 1.61 1 0.93 0 0.00 3 British Sign Language 0 0.00 1 1.61 0 0.00 Catalan 0 Central Khmer Mandarin 1 Czech 0 Croatian 1 0 1.54 0 1 0.00 0 0.00 0.00 0 0.00 0 0.00 1 1 1 0 1.54 0 0 0.00 0 182 0.00 96 58.54 96 0 0.00 1 Table S6_2 Frequency of original language on PSM Fims Danish 0 0.00 3 4.84 0 0.00 0 0.00 3 Dutch 0 0.00 3 4.84 0 0.00 0 0.00 3 English 23 35.38 24 38.71 21 19.63 31 18.90 99 Flemish 0 0.00 1 1.61 0 0.00 0 0.00 1 French 16 24.62 9 14.52 5 4.67 23 14.02 53 German 2 3.08 4 6.45 63 58.88 3 1.83 72 Greek 5 7.69 0 0.00 0 0.00 0 0.00 5 Hawaiian 1 1.54 0 0.00 0 0.00 0 0.00 1 Hebrew 1 1.54 2 3.23 4 3.74 0 0.00 7 Hindi 1 1.54 0 0.00 0 0.00 0 0.00 1 Italian 3 4.62 3 4.84 1 0.93 5 3.05 12 Korean 1 1.54 0 0.00 0 0.00 0 0.00 1 Latin 0 0.00 1 1.61 0 0.00 0 0.00 1 Norwegian 0 0.00 1 1.61 2 1.87 0 0.00 3 Polish 1 1.54 0 0.00 1 0.93 1 0.61 3 Portuguese 1 1.54 0 0.00 0 0.00 0 0.00 1 Russian 1 1.54 3 4.84 0 0.00 0 0.00 4 Serbian 1 1.54 0 0.00 0 0.00 0 0.00 1 Slovak 0 0.00 0 0.00 0 0.00 4 2.44 4 Spainish 3 4.62 2 3.23 3 2.80 0 0.00 8 Swedish 0 0.00 4 6.45 1 0.93 1 0.61 6 Tagalog 0 0.00 0 0.00 1 0.93 0 0.00 1 Thai 1 1.54 0 0.00 1 0.93 0 0.00 2 Turkish 0 0.00 0 0.00 1 0.93 0 0.00 1 Vietnamese 1 1.54 0 0.00 0 0.00 0 0.00 1 Yiddish 0 0.00 0 0.00 1 0.93 0 0.00 1 N 65 100 62 100 107 100 164 100 398 183 7.3 Use of English and National Language in Films In Greece and Belgium, English is dominating respectively with 81.5%/18.5% and 71.43%/48.57%. In Germany the national language is leading by 75%/25%. 7.4 Genres of Films Although the classification of Genres in different countries and PSMs greatly varies, the aggregated data clearly shows dominance of Drama (31%) followed by Comedy (17%) and Crime (10%). Table S6_3 Frequency of the Genres on PBM Films Greece Belgium Turkey Germany Czech % n % n n % n % N Adventure 0 0.00 0 0.00 0 0.00 2 1.24 1 0.00 3 Action 3 3.19 3 3.53 12.7 0 0.62 14 0.00 29 Animatio n 0 0.00 0 0.00 0 0.00 0 0.00 1 0.00 1 Biography 2 2.13 10 11.76 0 0.00 0 0.00 10 3.00 22 Biopic 0 0.00 0 0.00 0 0.00 7 4.35 0 0.00 7 Children 0 0.00 0 0.00 0 0.00 0 0.00 1 0.30 1 Comedy 11 11.70 12 14.12 8 12.7 0 16.77 69 20.72 127 Crime 10 10.64 8 9.41 0 0.00 13 8.07 41 12.31 Drama 26 27.6 6 32 37.6 5 33 52.3 8 56 34.7 8 78 23.42 225 Family 0 0.00 0 0.00 7 11.11 3 1.86 20 6.01 30 Fantasy 3 3.19 0 0.00 0 0.00 1 0.62 4 1.20 8 Fiction 0 0.00 0 0.00 0 0.00 6 3.73 0 0.00 6 History 0 0.00 3 3.53 3.17 4.35 12 3.60 24 Horror 1 1.06 0 0.00 0 0.00 0 0.00 2 0.60 3 Kids 0 0.00 0 0.00 0 0.00 0 0.00 14 4.20 14 Love 0 0.00 0 0.00 0 0.00 15 9.32 0.00 15 Genres n 8 2 % 184 1 27 7 0 TOTAL 72 Table S6_3 Frequency of the Genres on PBM Films Music 4 4.26 1 1.18 0 0.00 0 0.00 3 0.90 8 Mystery 7 7.45 3 3.53 0 0.00 6 3.73 8 2.40 24 Psycholog 0 y 0.00 0 0.00 0 0.00 0 0.00 6 1.80 6 Road Movie 0 0.00 0 0.00 0 0.00 0 0.00 1 0.30 1 Romance 16 17.02 5 5.88 6.35 2 1.24 15 4.50 42 Sci-Fi 0 0.00 0 0.00 0 0.00 1 0.62 4 1.20 5 Sport 0 0.00 0 0.00 0 0.00 0 0.00 1 0.30 1 Short film 0 0.00 1 1.18 0 0.00 1 0.62 0 0.00 2 Thriller 7 7.45 5 5.88 1 1.59 6.83 19 5.71 43 War 4 4.26 0 0.00 0 0.00 2 1.24 6 1.80 12 Western 0 0.00 2 2.35 0 0.00 0 0.00 3 0.90 5 N 94 100 85 100 63 100 100 100 736 4 11 161 333 7.5 Country of origin of TV Series First major difference from films on PSM in the researched countries is that the number of the national TV series is majority of the content – starting by 100% in Turkey to 50% in Greece. Second, in the researched period, a broad range of TV shows from various countries and genres were made available. However, from 19 countries production presented in the researched period, 11 are from EU member states. National and European production is priority for the researched PSMs. Germany offers content from the widest variety of countries. Table S6_4 Frequency of Countries of origin of TV series on PBM Greece Belgium Turkey Germany Czech TOTAL Country n % n % n % n % n % N Austria 1 3.57 0 0.00 0 0 6 5.17 2 1.72 9 Belgium 0 15 60.0 0 0 1 0.86 0 0.00 16 Czech 0 0 0.00 0 0 0.00 11 9.48 11 0.00 0.00 185 0 0 Table S6_4 Frequency of Countries of origin of TV series on PBM Czechoslova kia 0 0 0.00 5 Denmark 0 4 3.45 Finland 0 0 France 2 7.14 1 4.00 0 0 Germany 0 0.00 0 0.00 0 Greece 14 50.00 0 0.00 Hungary 0 0.00 0 Ireland 0 0.00 Israel 0 Italy 0 5 1 0.86 5 0.00 1 0.86 1 4 3.45 1 0.86 8 0 83 71.55 2 1.72 85 0 0 0 0.00 0 0.00 14 0.00 0 0 0 0.00 1 0.86 1 1 4.00 0 0 0 0.00 0 0.00 1 0.00 0 0.00 0 0 0 0.00 2 1.72 2 1 3.57 1 4.00 0 0 1 0.86 7 6.03 10 Iceland 0 0.00 0 0.00 0 0 1 0.86 0 0.00 1 Norway 0 0.00 1 4.00 0 0 2 1.72 0 0.00 3 Slovakia 0 0.00 0 0.00 0 0 0 0.00 1 0.86 1 South Africa 0 0.00 0 0.00 0 0 1 0.86 0 0.00 1 South Korea 1 3.57 0 0.00 0 0 0 0.00 0 0.00 1 Spain 1 3.57 0 0.00 0 0 0 0.00 1 0.86 2 Sweden 0 0.00 0 0.00 0 0 5 4.31 1 0.86 6 Switzerland 2 7.14 0 0.00 0 0 2 1.72 0 0.00 4 Poland 0 0.00 0 0.00 0 0 2 1.72 0 0.00 2 Turkey 0 0.00 0 0.00 100 100 0 0.00 0 0.00 100 UK 5 17.86 3 12.00 0 0 3 2.59 9 7.76 20 USA 1 3.57 3 12.00 0 0 1 0.86 3 2.59 8 28 100.0 25 0 100 116 100.0 4 0 8 0.00 0 0.00 0 4.31 N 0.00 0.00 0 0 0 0 0 100.0 100 0 100.0 317 0 7.6 Original Language of the TV Series Naturally the national languages dominate the TV series in the researched countries. The most popular foreign language is English. 186 Table S6_5 Frequency of the Original language of the TV series on PBM Greece Belgium Germany Turkey Czech TOTAL Country n % n % n % n % n % N Arabic 0 0.00 0 0.00 1 0.88 0 0.00 0 0.00 1 Chinese 0 0.00 0 0.00 2 7.14 0 0.00 0 0.00 2 Czech 0 0.00 0 0.00 0 0.00 0 0.00 16 14.04 16 Danish 0 0.00 0 0.00 6 5.26 0 0.00 1 0.88 7 Dutch 0 0.00 15 53.57 0 0.00 0 0.00 0 0.00 15 English 6 22.22 6 21.43 7 6.14 0 0.00 11 9.65 30 Flemish 0 0.00 2 7.14 0 0.00 0 0.00 0 0.00 2 Finnish 0 0.00 0 0.00 0 0.00 0 0.00 1 0.88 1 French 4 14.81 1 3.57 4 3.51 0 0.00 0 0.00 9 0 0.00 2 7.14 81 71.05 0 0.00 1 0.88 Greenlandic 0 0.00 0 0.00 1 0.88 0 0.00 0 0.00 1 Greek 14 51.85 1 3.57 0 0.00 0 0.00 0 0.00 15 Hebrew 0 0.00 0 0.00 0 0.00 0 0.00 2 1.75 2 Hindi 0 0.00 0 0.00 1 0.88 0 0.00 0 0.00 1 Italian 1 3.70 0 0.00 1 0.88 0 0.00 6 5.26 8 Korean 1 3.70 0 0.00 0 0.00 0 0.00 0 0.00 1 Norwegian 0 0.00 1 3.57 2 1.75 0 0.00 0 0.00 3 Polish 0 0.00 0 0.00 1 0.88 0 0.00 0 0.00 1 Spanish 1 3.70 0 0.00 0 0.00 0 0.00 0 0.00 1 Swedish 0 0.00 0 0.00 7 6.14 0 0.00 0 0.00 7 Turkish 0 0.00 0 0.00 0 0.00 100 100 0 0.00 100 N 27 100 28 100 114 100 100 100 38 100 307 German 187 84 7.7 Use of English and the National Language in TV Series Across the four researched countries (Germany, Greece, Belgium and Turkey), in average 88% of the TV series are primarily in the native language rather than English. This affirms the importance and relevance of local cultures and languages. 7.8 Genres of TV Series Drama is the leading Genre for TV series, followed by Comedy and Crime. Again, as each player defines its own taxonomy of genres, it is very difficult to come to more affirmative conclusion. Table S6_6 Frequency of the Genres of the TV Series on PBM Greece Belgium Turkey Germany Czech TOTAL Genres n % n % n % n % n % N Action 1 2.00 1 2.38 8 6.50 0 0.00 8 5.06 18 Comedy 13 26.00 5 11.90 20 16.26 9 5.70 8 5.06 55 Crime 7 14.00 3 7.14 0 0.00 25 15.82 14 8.86 49 Documentary 0 0.00 1 2.38 0 0.00 0 0.00 1 0.63 2 Drama 14 28.00 12 28.57 37 30.0 8 36 22.78 27 17.09 "Entertainme nt" ZDF 0 0.00 0 0.00 0 0.00 5 3.16 0 0.00 Family 0 0.00 0 0.00 22 17.89 2 1.27 7 4.43 31 "Fiction" ZDF 0 0.00 0 0.00 0 0.00 41 25.95 0 0.00 41 History 2 4.00 1 2.38 20 16.26 2 1.27 3 1.90 28 Human interest 0 0.00 4 9.52 0 0.00 0 0.00 0 0.00 "Information" ZDF 0 0.00 0 0.00 0 0.00 5 3.16 0 0.00 Lifestyle 0 0.00 2 4.76 0 0.00 0 0.00 0 0.00 2 Literature 0 0.00 0 0.00 1 0.81 0 0.00 0 0.00 1 Love 0 0.00 0 0.00 0 0.00 4 2.53 0 0.00 4 Music 0 0.00 0 0.00 0 0.00 0 0.00 1 0.63 1 188 126 5 4 5 Table S6_6 Frequency of the Genres of the TV Series on PBM Musical 0 0.00 0 0.00 0 0.00 0 0.00 1 0.63 1 Mystery 5 10.00 0 0.00 0 0.00 14 8.86 7 4.43 26 Ramazan 2021 0 0.00 0 0.00 1 0.81 0 0.00 0 0.00 Reality 0 0.00 2 4.76 0 0.00 1 0.63 0 0.00 3 Romance 3 6.00 4 9.52 9 7.32 0 0.00 0 0.00 16 Sci-Fi 0 0.00 1 2.38 0 0.00 0 0.00 0 0.00 1 Sport 0 0.00 1 2.38 0 0.00 0 0.00 0 0.00 1 Talk show 0 0.00 1 2.38 0 0.00 0 0.00 0 0.00 1 Thriller 3 6.00 4 9.52 0 0.00 13 8.23 4 2.53 24 War 1 2.00 0 0.00 5 4.07 1 0.63 1 0.63 8 Western 1 2.00 0 0.00 0 0.00 0 0.00 0 0.00 1 50 100.0 0 42 100.0 0 123 100 158 100.0 0 82 100.0 0 455 N 1 7.9 Other data Czech Republic, Bulgaria and Portugal provided data for eider social media channels of PSMs or for websites with archives of content, operated by the national PSM. Portugal At RTP Play, a free public video-on-demand service, more than half of the pages were viewed between 10 thousand and 50 thousand times; about 70% of pages get less than 20 thousand unique visitors, and 43% of pages get less than 20 thousand overall visits. Unfortunately, this does not give us views per video but indicates that there is a flaw of users, coming to the catalogue of content such as films, series, documentaries, news, reports, interviews, shows, children's content etc. Bulgaria The Bulgarian National Television is uploading content on 7 different webpages, where a searchable archive of programs is offered to the viewers. For 2 of them (bnt.bg, bntnews.bg) and for the YouTube channel (@BNT1) there is available data. 189 The number of views of the uploaded videos is low - on the two own platforms of BNT all videos have less than 10K views and only on YouTube there are 4% of the videos with 10-50K views. News is the prevailing genre of all videos (47 for bnt.bg; 92 for bntnews.bg and 82 on the YouTube channel). Talk shows, Documentary and Game shows are the next tree genres that are uploaded. There is a very low number of videos on Music, Sports, Education and TV series. Czech Republic The most successful social media channel of PSM is Twitter, which is, for the most part, used for tweeting links, not media content. Instagram has the highest percentage of accounts of Czech PMS with less than 10.000 subscribers, YouTube among 50.000 and 100.000 subscribers, and TikTok between 10.000 and 50.000. There is a clear strategy in how different social media are targeted: for instance, Czech Television is using TikTok to engage with very young audiences (13-17), while YouTube is for the older age groups (25-34 and 35-44). 190 8 Conclusion The dynamics of the audio-visual services are high and changes occur in fast pace. The EU executive’s IT service has asked all Commission employees to uninstall TikTok from their corporate devices, as well as the personal devices using corporate apps, citing data protection concerns.87 The request to uninstall the Chinese-owned social media app was communicated via email to EU officials on 23 February 2023. Employees were asked to do no later than 15 March. For those who do not comply, the corporate apps like the Commission email and Skype for Business will no longer be available. Although no European government has followed the EU Commision and the US example, public authorities in the Netherlands are being told to steer clear of TikTok amid growing concerns across the EU and U.S. that the Chinese-owned video-sharing platform poses privacy risks88 Video production and consumption in new platforms can be considered against the backdrop of traditional TV and movie systems. “European work is, on average, promoted less intensively than a US film”. The conclusion is that European films and TV series need better promotion to attracted viewers in the platform. In 2022 Netflix invested “massively in new content, commissioning productions in 37 countries outside of the USA”.89 On Netflix In all countries the top 5 genres are: Drama, Comedy, Crime, Action and Thriller. On Disney+ Top 5 most watched genres are: Animated, Comedy, Superhero, Drama and SciFi in nearly all countries. We can clearly state that the top 5 genres in all platforms are the same. In five of the countries at EUMEPLAT Disney+ is in top 3 platforms, studied during the project - Belgium, Portugal, Spain, Sweden and Turkey. Bulgaria, Greece, Czech Republic and Turkey as part of the platform expansion have data only for 2022. Data shows us that Disney+ is a platform, at which North American content is the main content watched. Turkey has the 87 Bertuzzi, Luka. European Commission bans TikTok from corporate devices, 23 February 2023, https://www.euractiv.com/section/cybersecurity/news/european-commission-bans-tiktok-from-corporatedevices/ Haeck, Pieter. Don’t use TikTok, Dutch officials are told, 25 January 2023 https://www.politico.eu/article/netherlands-dutch-government-work-tiktok-data-protection/ 89 Abbatescianni, Davide, International co-productions are back on track, reveals the latest Omdia report, Cineuropa, https://cineuropa.org/en/newsdetail/433117/, 14.02.2023 88 191 smallest North American percentage, but even here the percentage is 90. In all countries but Italy (1,7%) the percentage of European content consumption is less than 1. The platform follows the rules and offers a minimum of 30% European content to its viewers, but the consumer choice is different. Analyzing data from the platform about country/countries of origin on Disney+ we find that 76 percent of all content is produced by USA alone or in partnership with other countries. On the second place is UK with 14 percent, and all other countries are with less than 2% each. In fact USA and UK are present as country of origin in 90 percent of the films. From all eleven countries, which produced content watched on Disney+ 55% are European by geography, but their participation is in partnership with USA. Nearly half of the content watched on Disney+ is produced by Disney+ or Walt Disney Pictures. The platform is entering the competitive market with a strategy for producing local content. Disney+ is planning on commissioning 50 original projects across Europe by 2024. It is obvious that using marketing approach leads to enhanced market demand for the movies. Production of audiovisual material should be strongly connected to its promotion. We may say that English is the language of the European film production and consumption. A short conclusion about the platformization process, which is also affecting Europe. Here too, platforms for video on demand and video sharing have been reorganizing the cultural practices and the production of all kinds of digital content. The TV and video market is highly dynamic, and a great number of factors influence its future. Some of those factors are digitalization, new market offers, and disruption by digital players. The big players - Netflix, HBO, Amazon Prime Video, Google Play, iTunes, Disney+ - are working hard on finding a way to increase their market shares and finding a new markets. Dealing with the fact that 58.43% of web traffic comes overall from mobile devices, Video Content creators are pushed to think about platform-related production. The European Union supports the creation of European platforms - through Creative Europe – The MEDIA Programme of the European Union. Ten of the platforms part of EUROVOD are also supported by Creative Europe – The MEDIA Programme of the European Union. Four have being supported by Creative Europe – MEDIA Programme of the European Union and The Centre national du cinéma et de l'image animée. The majority of EUROVOD members are platforms, orientated to European movies and culture. They are filling a gap about the promotion of typically European content in VOD platforms. Supporting local, regional and thematical platforms, is a logical step to be taken, for a more sustainable platformization process of video production. 192 After studying the top global platforms, and one local, for all the ten countries, we can conclude that platforms are predominantly dominated by USA content, when it comes to VOD. The situation is different in VSP, where currently the major trend is in favor of local content producers, either TikTokers and YouTubers. Global platforms invest money and efforts to collaborate with national players for producing content which appeals to local audiences. In order to support the cultural diversity of the European audiovisual sector, MEPs ensured that 30% of content in catalogues of VOD platforms must be European works. The data shows that those European titles, however, do not list in the top-10 most watched films - or TV-shows, at that - for the period of the research. European countries and EU27 members-countries are in most of the case present as co-producers (though there are successful cases as for example Money Heist/Casa de papel). In the segment of TV-shows, the audiences clearly prioritize national content over the European one. In the case of VSP the situation is different, as stated, due to the preferences are for national content and familiar language. In the efforts for reaching out a wider audience, content creators mostly work in English, while the linguistic barriers are still in place: so that, for instance, French and Belgian people share the same contents, and so do Spanish and the Latin American, or the German and the Austrian. A main evidence is that TikTok is the platform in which the national audiences are more important, and in nearly all the countries the first language used in popular channels is the national one. European users are active segments of the audience of VOD and VSP platforms. According to the Statista data, the Video-on-Demand market in Europe is projected to grow by 8.75%, between 2023 and 2027, eventually resulting in a market volume of 40.05 billion US$ in 2027. One of the ways for the European content to attract new audiences is by better promoting its content, by targeting young audience in social media – for instance, this is the secret of SKAM’s success (see D3.4). European programs which support production of content should encourage co-productions, and especially co-productions among partners from different part of Europe not only the biggest EU countries. On the most popular VOD platform – Netflix - the available titles from the ten countries represented Belgium - 46 titles Bulgaria - 4 titles Czech Republic - 150 titles Germany - 86 titles Greece - 6 titles Italy - 80 titles Portugal - 102 titles 193 in the project are: Spain - 503 titles Turkey - 101 As we can see, not all countries are presented proportionally with movies and T-shows. A stimulation of partnership and coproduction may be necessary, between leading content producers and weaker producing countries. In terms of policy recommendations, it could make sense to place attention not only to the production of content, but also to the way that content is to be presented and promoted to the audience, in Europe and not only. The language of the content is a very important element of the process of attracting audiences. That is why English is the top language in all platforms, either VOD and VSP. Future research should focus on ways to stimulate effective collaboration among EU countries in producing content for platforms, as this cooperation should be coupled with more significant efforts on promotion and users’ engagement. 194 9 Acknowledgements Bulgarian team wish to thank Bulgarian National Television for the data provided. We also want to thank the Bulgarian office of Talentmedia for the list of top 100 TikTok influencers in Bulgaria. Czech Republic team wish to thank Sandra Abdulhaková and Klára Odstrčilová for their work for the data gathering, and Jan Miessler for his mediation with Czech Television. 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