In the swiftly evolving realm of streaming services, Disney Plus has emerged as a significant contender, reshaping the landscape of digital entertainment. This statistics study aims to delve into the intricacies of Disney Plus’s growth and influence by examining its varied content library, understanding subscriber and customer behavior, and evaluating the impact of advertising strategies.

The data gathered offers a comprehensive view of how Disney Plus has navigated the competitive market and what trends may be anticipated as the platform continues to expand its horizons.

Disney Plus Statistics Overview

SVOD revenue worldwide 2016-2028

The graph you’ve provided represents the subscription video-on-demand (SVOD) revenue worldwide from 2016 to 2028 in billion U.S. dollars. Here are some key points based on my analysis of the graph:

  • Steady Growth: There’s a clear upward trend in global SVOD revenue over the years.
  • Initial Revenue: In 2016, the revenue was approximately $17.22 billion.
  • Year-on-Year Increase: Each subsequent year shows an increase in revenue, with revenue in 2017 reaching roughly $25 billion.
  • Significant Jump: By 2020, there’s a notable surge to approximately $67 billion, more than double the revenue in 2018.
  • Projection: The graph shows that the revenue is expected to further increase in 2022 to about $99 billion.
  • Future Forecast: The year 2028 is marked with an asterisk, indicating that the data for this year is likely a projection or estimate. The projected revenue for 2028 is significantly higher, forecasted at $124 billion, showing anticipated strong continued growth in the SVOD market.
  • Compound Annual Growth Rate (CAGR): The rising bars imply a positive CAGR throughout this time period, demonstrating the robust health of the SVOD market and possibly reflecting factors like increased internet penetration, the proliferation of mobile devices, changes in consumer preferences, and the expanding amount of digital content.

These insights suggest that SVOD is a growing industry with revenue expected to continue an upward trend for the foreseeable future. The graph highlights the successful expansion of video streaming services and the increasing consumer shift towards digital entertainment platforms.

Hybrid subscribers of selected hybrid video-on-demand platforms worldwide 2028

The graph shows the number of hybrid subscribers of selected hybrid video-on-demand platforms worldwide in the year 2028, with figures in millions. The data focuses on four specific platforms: Disney+, Netflix, Paramount+, and HBO Max.

From the graph, we can observe the following information:

  • Disney+ has the highest number of hybrid subscribers, significantly outperforming the other platforms with 205.5 million.
  • Netflix is the second with 63.2 million subscribers, which is considerably less than Disney+.
  • Paramount+ follows closely behind Netflix with 52.8 million subscribers.
  • HBO Max has the least number of subscribers among the listed platforms with 50.9 million.

Some key insights we can derive from this data include:

  • There is a substantial gap between Disney+ and the other platforms, implying that Disney+ might have a more extensive content library, better pricing, a stronger brand, or more effective marketing strategies that appeal to a larger global audience, or it could suggest a combination of these factors.
  • The competition between Netflix, Paramount+, and HBO Max is relatively tight, with only about a 10-12 million subscriber difference separating them.
  • This data suggests that the market for hybrid video-on-demand services is varied, with one clear leader (Disney+) and several strong contenders vying for market share.

A hybrid video-on-demand service typically refers to a platform that combines subscription-based access with additional purchase or rental options, or it could imply a mix of on-demand content with some form of live programming. All of these platforms are part of a competitive and evolving online streaming environment that has become a major aspect of global media consumption.

Most in-demand video streaming services for original TV series worldwide 2022

The graph has a variety of video streaming services listed on the Y-axis and numerical values along the X-axis, indicating the difference from the market average in audience demand for original TV series.

The values presented on the X-axis seem to be a factor or multiple of how much more in-demand the service is compared to the market average. A value of 1 would mean equal to the market average, and values above 1 indicate how many times more in-demand the service is.

Looking at the graph, we can see that Apple TV+ leads the pack with a rating of 4.17, which suggests that the audience demand for its original TV series is approximately 4.17 times greater than the market average. The second is Starz with a rating of 3.85, followed by Paramount+ at 3.47, Showtime at 3.38, and Disney+ at 3.31.

Near the lower end of the demand scale, we have streaming services like Hulu (2.63), Netflix (2.00), and Amazon Prime Video (1.83). The bottom-most service on this graph is Peacock with a rating of 1.11, indicating that its demand is only slightly above the market average.

Some insights we can deduce from this graph are:

  • While platforms like Netflix and Amazon Prime Video may have larger subscriber bases, relative to this graph, they are less dominant in terms of audience demand for their original content compared to Apple TV+ and Starz.
  • The market for original TV series is quite competitive, with significant differences in audiences’ preference for original content on various platforms.
  • Smaller or newer platforms such as Apple TV+ can lead in audience demand for original content despite potentially having fewer subscribers than more established platforms.

Keep in mind that this data is specific to the original TV series and does not necessarily reflect overall popularity, subscriber count, or total viewership of the platforms.

Leading companies spending the most on original content worldwide 2023

This is a vertical bar graph indicating the spending on original content worldwide in 2023 by various companies, measured in billion U.S. dollars. Each bar represents a company, and the height of the bar correlates with the amount spent on original content.

According to the graph, Disney is the leader in spending, with an expenditure of $10.5 billion on original content. Warner Bros. Discovery comes in second at $9.6 billion, followed by Paramount with $9 billion and Comcast with $8.8 billion. Netflix and Amazon also feature prominently on the graph, with Netflix spending $7.2 billion and Amazon allocating $4.5 billion to their original content.

Further down the list are Apple ($4.5 billion) and ARD/ZDF ($3 billion), which shows a significant drop from the top spenders. The companies with the lowest spending on the graph include Baidu, Tencent, Mediaset, TF1 Group, Hunan Broadcasting System, ProSiebenSat.1, and Channel4, all hovering around the $1 billion mark or below.

Some interesting insights from the graph can be concluded as follows:

  • The leading streaming and media companies like Disney, Warner Bros., and Comcast are heavily investing in original content, likely reflecting the competitive nature of the streaming market and the need to attract and retain subscribers with unique offerings.
  • Traditional broadcast companies such as Fox and the BBC have considerably lower spending on original content compared to their streaming counterparts, which may indicate a difference in strategy or resources.
  • Although Netflix is known to have revolutionized the streaming industry with a strong focus on original content, it is outpaced in spending by Disney, reflecting Disney’s significant investment in bolstering its streaming service with original programming.
  • Tech giants like Apple and Amazon, despite having diversified businesses, are still significant players in the original content space, which suggests that they are dedicated to strengthening their positions in the entertainment sector.
  • Regional or national broadcasters and tech companies, such as ARD/ZDF, Baidu, and Hunan Broadcasting System, have lower spending compared to global giants, but their investments in original content are crucial for targeting their respective markets and audiences.

This data reflects the ongoing trend of escalating costs in the production of original content as companies seek to differentiate themselves and capture audience attention in an increasingly crowded and competitive digital media landscape.

Emmy Awards: wins by network 2022

The graph depicts the number of wins for the Primetime Emmy Awards in the United States in 2022 by various networks and streaming services. The horizontal bars vary in length according to the number of Emmy Awards each entity has won, with the longest bar representing the greatest number of wins.

According to the graph:

  • HBO/HBO Max leads with 38 wins, indicating that it was the most successful network at the Emmy Awards.
  • Netflix follows with 26 wins, showcasing its strong presence in original programming that is recognized by the Emmy Awards.
  • Hulu secured 10 wins, placing it third on this list and highlighting its competitive original content.
  • Disney+ and Apple are tied with 9 wins each, indicating their emerging strength in the streaming service sector.
  • Amazon won 7 awards, while traditional broadcast networks NBC and CBS received 6 and 5 wins, respectively.
  • ABC, FX, and VH1 have lower numbers of wins, ranging from 2 to 3, reflective of either fewer nominations or competition from stronger contenders.
  • National Geographics, TBS, CNN, and PBS each have a single win, which might be representative of specific categories they competed in or a single standout program.

Some interesting insights can be drawn from this graph:

  • Streaming services have a significant presence and seem to be outperforming traditional broadcast networks in terms of Emmy wins, reflecting a shift in where high-quality programming is being produced.
  • HBO/HBO Max and Netflix dominate the awards, reflecting their investment in high-quality original content and their effectiveness at attracting top talent and projects.
  • Disney+, Apple, and Amazon have demonstrated that newer streaming platforms are also capable of producing award-winning content, signaling a shift in the competitive landscape.
  • The relatively lower number of wins for traditional networks (NBC, CBS, ABC) might suggest either a focus on different types of programming or a need to innovate to keep up with the changing industry dynamics.
  • The fact that a diverse set of networks and streaming services have won at least one award indicates that quality content can be found across a variety of platforms.

This graph underscores the transformation of the television industry, where the line between traditional broadcast and streaming services continues to blur, and the push for quality content has become a top priority for all players involved.

Monthly subscription prices of Disney’s video streaming offers in the U.S. 2023

Data source: Variety

This image shows a table or dataset summarizing the monthly subscription prices of various Disney video streaming service offerings in the United States as of October 12, 2023, with the prices stated in U.S. dollars.

The table is divided into two columns: the description of the service and the respective price in U.S. dollars. Here’s a brief analysis of the data:

  • Disney+ with ads: $7.99
  • Disney+ without ads: $13.99
  • Hulu with ads: $7.99
  • Hulu without ads: $17.99
  • Disney+ (with ads) on Hulu add-on: $2.00
  • ESPN+ on Hulu add-on: $10.99
  • ESPN+ with ads: $10.99
  • Duo Premium: Disney+ (no ads), Hulu (no ads): $19.99
  • Duo Basic: Disney+ (with ads), Hulu (with ads): $9.99
  • Trio Premium: Disney+ (no ads), Hulu (no ads), ESPN+ (with ads): $24.99
  • Trio Basic: Disney+ (with ads), Hulu (with ads), ESPN+ (with ads): $14.99
  • Hulu + Live TV with ads: $76.99

From this data, we can draw several insights:

  • There’s a clear distinction in pricing based on whether the subscription includes advertisements or not, with the ad-free versions costing more.
  • The Disney+ without ads service costs $6 more per month than the Disney+ with ads service, suggesting that consumers are paying a premium to avoid advertisements.
  • Hulu without ads is the most expensive single-service subscription at $17.99.
  • The bundles (Duo and Trio) offer savings for consumers looking to subscribe to multiple services. For example, the Duo Basic bundle is only $2 more than a single subscription to Disney+ without ads, yet it includes Hulu with ads as well.
  • The ESPN+ services are priced equally whether you get it as a standalone service with ads or as an add-on to Hulu.
  • The costlier option is the Hulu + Live TV with ads, priced at $76.99, indicating that live TV service commands a significant premium over on-demand content.
  • Considering the prices of individual services, the bundles seem to offer a price advantage, especially for consumers interested in having both Disney+ and Hulu, with or without ESPN+.

These insights provide a brief overview of Disney’s video streaming service pricing strategy and indicate how they segment their offerings to cater to different consumer preferences, with varying price points based on the inclusion of ads and bundling of multiple services.

Disney Plus Financials

Global quarterly revenue of the Walt Disney Company 2023, by segment

The graph is a bar chart that represents the revenue of the Walt Disney Company worldwide in the 3rd quarter of 2023, segmented by different business areas. The revenue figures are expressed in millions of U.S. dollars.

Let’s describe the bar chart segment by segment:

  • Media and entertainment: This segment shows the highest revenue with $14,004 million. It dominates the chart, indicating that it’s the most significant contributor to Disney’s overall revenue.
  • Parks, experiences and products: The second-most revenue-generating segment is Disney’s parks, experiences, and products with $8,326 million, which is quite substantial but significantly less than the media and entertainment segment.
  • Linear networks: The third segment is linear networks, with a revenue of $6,690 million. This suggests a solid performance, although it is much smaller than the media and entertainment.
  • Direct-to-consumer: The direct-to-consumer segment has generated $5,525 million. This segment likely includes streaming services and any subscription-based models that deliver content directly to the end-user.
  • Content sales/licensing and other: This segment has the lowest revenue, reported to be $2,082 million, which is less than half the revenue of the direct-to-consumer segment and substantially lower compared to other segments.

From this data, we can draw several interesting insights:

  • The media and entertainment segment is the clear leader in revenue generation for the Walt Disney Company, which could include television and film productions, media networks, and possibly streaming services under one umbrella.
  • Disney’s parks and experiences continue to be a major revenue driver, second to media and entertainment. This could highlight the successful recovery of theme park attendance and in-person experiences after disruptions like the COVID-19 pandemic.
  • Linear networks, while still generating significant revenue, are not the leading source, implying that there may be a shift in how consumers are engaging with Disney’s various media channels, possibly favoring direct-to-consumer platforms.
  • Direct-to-consumer has a lower revenue compared to more traditional segments (media and entertainment or parks and experiences). This might be reflective of the competitive nature of the streaming market and could be a area of potential growth or increased investment.
  • Content sales/licensing and other activities represent the smallest portion of revenue, which may suggest that although licensing is a valuable part of Disney’s business, it does not rival the company’s other segments in terms of revenue generation.

The data indicates that the Walt Disney Company has a diverse portfolio with multiple streams of income, allowing it to leverage different markets and consumer preferences.

Quarterly operating income/loss of the Walt Disney Company 2022-2023, by segment

The graph shows the operating income and loss of the Walt Disney Company for the 3rd quarter of 2023, broken down by segment. The values are given in million U.S. dollars. It is important to note that positive values indicate operating income, while negative values denote operating losses.

Let’s describe the data for each segment:

  • Media and Entertainment: This segment shows an operating income of $1,134 million, suggesting that it is profitable and is the most significant positive contributor to Disney’s operating income during this period.
  • Linear Networks: The Linear Networks segment reports a sizable operating loss of $1,889 million. This is the largest loss among all segments and could be indicative of significant challenges in the traditional cable and broadcast network business.
  • Direct-to-Consumer: This segment shows an operating loss of $512 million. While it is a loss, it’s less than that of the Linear Networks, which suggests that this segment may be comparatively more stable or that the investment costs have been lower.
  • Content Sales/Licensing and Other: The operating income here is lightly negative at $243 million. This indicates a minor loss and could be due to fluctuations in content sales, licensing deals timing, or possibly smaller-scale operations compared to other segments.
  • Parks, Experiences and Products: The largest positive impact comes from this segment, with an operating income of $2,425 million. This is an excellent performance, showing that it is a highly profitable area for the company during this quarter.

From the information on this graph, we can derive several insights:

  • Disney’s Parks, Experiences, and Products division continues to be a major strength for the company, with the highest operating income.
  • Media and Entertainment also remains profitable, but its relative contribution is less than half of that from Parks, Experiences, and Products, suggesting that the latter may have more leverage in terms of profitability.
  • The significant operating loss in the Linear Networks segment is concerning and could reflect ongoing trends in media consumption, where consumers are shifting away from traditional television to digital and streaming platforms.
  • The Direct-to-Consumer segment is currently operating at a loss, but it’s possible that this segment is in a growth or investment phase, with expectations to become profitable in the future as this market expands.
  • Content Sales/Licensing and Other segments have a relatively small loss, implying either controlled costs or smaller scale impacts.

Overall, Disney appears to have a mixed performance across its different business segments. While the company faces challenges in traditional media networks, their parks and products segment shows robust health, and their involvement in direct-to-consumer services may still represent a strategic growth area despite current losses.

Operating income of Disney’s direct-to-consumer business 2021-2023

This is a vertical bar graph that displays the operating income/loss of the Walt Disney Company’s direct-to-consumer business from the second quarter of 2021 to the fourth quarter of 2023, measured in millions of U.S. dollars. Each bar represents the operating income or loss for a specific quarter.

Key observations from the graph include:

  • The Disney direct-to-consumer business has been operating at a loss throughout the entire period visualized, with no positive income (profit) presented.
  • The losses appear to fluctuate from quarter to quarter, but there is an observable trend of increasing losses over time until a peak loss in the fourth quarter of 2022.
  • The largest operating loss occurs in the fourth quarter of 2022, with a value of approximately $1.4 billion.
  • Following the peak loss, there is a slight reduction in losses in the first quarter of 2023 to around $1.05 billion, and then a further significant reduction in the second quarter of 2023 to around $659 million, suggesting some improvement in the operating performance.
  • The losses appear to be somewhat cyclical, with Q4 consistently showing large losses and a relative improvement in Q2 of 2022 and Q2 of 2023.
  • The last quarter shown, Q4 2023, ends with an operating loss of $420 million, which is the lowest loss in the chart since Q2 2021.

From this data, one can conclude that Disney’s direct-to-consumer segment faced consistent financial challenges during the period displayed, with a particularly challenging period around the end of 2022.

However, by the end of the timeline, there are indications of reduced losses, which may signal some recovery or the positive effects of strategic changes in the company’s direct-to-consumer division.

This could be due to a number of factors, including changes in consumer behavior, alterations to Disney’s pricing models or service offerings, or wider economic conditions affecting the entertainment industry.

Disney+ ARPU worldwide 2020-2023

The graph shows the average monthly revenue per paying subscriber (ARPU) of Disney Plus worldwide from the first quarter of 2020 to the fourth quarter of 2023, presented in U.S. dollars. The ARPU is broken down into three categories: Global, Core Disney+, and Disney+ Hotstar.

Here are some key observations and insights from the graph:

  • The Global ARPU is consistently higher than both Core Disney+ and Disney+ Hotstar throughout the entire period shown. This could be interpreted as the combination of all revenue streams and packages offered globally contributing to a higher average revenue per user compared to individual segments.
  • The Core Disney+ ARPU shows fluctuations over the time period but remains relatively stable compared to the other categories. The Core Disney+ ARPU starts at $5.63 in Q1 2020, dips to a low of $3.99 in Q2 2021, and then slightly recovers to and stabilizes around $4.35-$4.44 from Q1 2022 to Q3 2023, ending with $4.41 in Q4 2023.
  • ARPU for Disney+ Hotstar is significantly lower than that of the Global and Core Disney+ figures, and it shows minimal variation throughout the period. Starting at only $0.59 in Q1 2023, it remains at the same level for the rest of the year.
  • The Global ARPU experiences a decrease from Q1 2020 at $5.56 to a low in Q1 2021 at $4.03, followed by a general increasing trend starting from Q2 2021, culminating in a substantial increase to reach $6.77 by Q4 2023.
  • The significant increase in Global ARPU at the end of 2023 could be attributed to pricing changes, changes in the subscriber mix, or the addition of new services or content that may have driven an increase in the average revenue earned per user.
  • The data implies that while Disney+ Hotstar has a much lower ARPU, it doesn’t seem to drag down the Global ARPU substantially toward the end of 2023, possibly indicating a healthy growth in other revenue streams or a smaller proportion of Hotstar subscribers compared to the whole.

Given these insights, one could speculate that Disney Plus’s overall revenue strategy appears to be effective, as seen by the increasing global ARPU, and that the company may be focusing on increasing profitability or revenue per user over the long term rather than solely increasing subscriber numbers.

Disney+ Hotstar revenue FY 2018-2022

The graph displays the revenue of Disney+ Hotstar from the financial year 2018 to 2022, measured in billion Indian rupees (INR). The vertical axis represents the revenue in billion rupees, and the horizontal axis shows the consecutive financial years from 2018 to 2022.

From the graph, we can observe the following:

  • There has been a significant overall increase in revenue over the five-year period.
  • In FY 2018, revenue is the lowest on the graph, standing at 5.76 billion rupees.
  • There is a notable year-over-year increase from FY 2018 to FY 2019, where the revenue rises to 11.23 billion rupees.
  • The growth continues in FY 2020, reaching 15.93 billion rupees.
  • However, there is a slight decrease in FY 2021, where the revenue dips to 16.7 billion rupees.
  • The most dramatic increase occurs in FY 2022, where the revenue jumps to 32.59 billion rupees.

Some interesting insights from the data might include:

  • Disney+ Hotstar has experienced considerable growth in revenue within the five-year span, more than doubling from the first to the last year noted.
  • The slight decline in FY 2021 could suggest a range of factors, such as market saturation, increased competition, changes in user behavior, economic issues, or other operational challenges.
  • The substantial increase in revenue in FY 2022 indicates a strong recovery and possibly the effects of new strategic initiatives, product offerings, increased subscriber base, or other positive market conditions for Disney+ Hotstar.

It’s important to note that without additional context or data, these insights are speculative, and the exact reasons behind the trends would require further investigation into the operations, market conditions, and strategic decisions of Disney+ Hotstar during these years.

Disney+ Hotstar revenue FY 2022, by type

This is a bar chart depicting the revenue of Disney+ Hotstar in the financial year 2022, broken down by type and denominated in billion Indian rupees. There are three types of revenue sources shown: operating revenue, advertisement revenue, and subscription revenue. Additionally, there is a total revenue bar.

From the chart, you can observe the following:

  • Operating Revenue is the highest single source of revenue at 32.2 billion Indian rupees.
  • Advertisement Revenue stands at 16.84 billion Indian rupees, which is a significant amount but about half of the operating revenue.
  • Subscription Revenue contributes 13.74 billion Indian rupees, which is the least among the three individual categories.
  • The Total Revenue, represented by a black bar, comes to 32.59 billion Indian rupees, indicating that the Total Revenue figure on the graph is likely the sum of Operating Revenue and either Advertisement or Subscription revenue, but not both, due to the discrepancy in the total.

Here are some interesting insights that could be drawn from the data:

  • Operating revenue is a critical component of Disney+ Hotstar’s financial success.
  • While subscriptions are a significant revenue source for many streaming services, in this case, Disney+ Hotstar’s subscription revenue is less than its advertisement revenue, which might indicate a business model that relies more heavily on advertising.
  • The data suggests there may be an error in reporting the total revenue or an aspect of the total revenue is not displayed in the individual categories since the Total Revenue does not equal the sum of the three listed sources. This could mean there’s another revenue source not shown on this graph or a possible mistake in the graph’s design or the calculations of the totals.

Please note that any further conclusions would require a more in-depth analysis of the company’s financial structure, market strategy, userbase, and potential additional revenue streams not shown here.

Disney: global revenue of leading apps 2023

Data source: AppMagic

The image is a table displaying the in-app purchase revenue of leading Disney apps worldwide in the third quarter of 2023, with revenue numbers listed in U.S. dollars.

From the table, we can see the following apps listed from highest to lowest by revenue:

  • Disney+: $22,405,7053
  • ESPN: Live Sports & Scores: $43,178,453
  • Hulu: Stream TV shows & movies: $9,131,017
  • Star+: $6,176,774
  • My Disney Experience: $952,759
  • Marvel Unlimited: $918,004
  • ESPN Fantasy Sports & More: $105,935
  • ESPN Player: $90,545
  • Where’s My Water?: $81,762
  • Disneyland®: $63,224

At first glance, some numbers appear to be inconsistent with general formatting (in terms of digit grouping for Disney+ and ESPN). Assuming this is a formatting error, let’s focus on the insights that can be drawn from this data:

  • ESPN: Live Sports & Scores is the highest-grossing app by a considerable margin, which suggests a strong demand for live sports content and possibly a robust user base willing to pay for in-app purchases.
  • Disney+ and Hulu also generate substantial revenue, likely from their streaming content, and this reflects the increasing importance of streaming services in the entertainment sector.
  • There is a steep drop-off in revenue after the top three apps, indicating a significant disparity between the most popular Disney applications and the rest of the portfolio.
  • Applications like ESPN Fantasy Sports & More, ESPN Player, and Where’s My Water? generate a smaller but still notable amount of revenue, which might come from a dedicated user base.
  • Disneyland®, despite being associated with a highly popular theme park brand, generates the least revenue among the listed apps, which could suggest that in-app purchases are not a major revenue driver for the app or it may be used more for planning and information rather than purchasing.

It’s important to note that these conclusions are drawn based on the available data. Real-world factors like user engagement, market strategies, and monetization models would have a significant impact on these figures. The numbers suggest that live sports and streaming services are major drivers of in-app purchase revenue for Disney-related apps.

Disney Content

Most in-demand series releases worldwide 2022

This horizontal bar chart displays the most popular original series releases worldwide in 2022, based on how many times more in demand they are compared to the average series, which is set as a baseline of 1.0x. Each bar represents a different TV series, and the length of the bar correlates with the series’ relative demand.

Here are the insights from the given data:

  • “House of the Dragon” was the most in-demand original series in 2022, reaching approximately 114.9 times the demand of the average series. This indicates a very high level of popularity and viewership.
  • “Moon Knight” follows as the second most in-demand series, with a demand of approximately 87.6 times that of an average series.
  • “Wednesday” is in third place, with about 85.7 times the demand of the average series.
  • The series with the least demand among those listed is “Chainsaw Man,” with a demand of about 53.9 times that of an average series, which is still significantly higher than average, indicating that even the least popular series on this chart was very in-demand.
  • All of the series on the list are well above the demand of the average series, indicating that these titles were major hits in 2022.

The data shows a clear dominance of certain series within the year and highlights the wide range of demand between the most popular and the least popular series within this selection. It is also noteworthy that many of these series are based on existing franchises or are adaptations, suggesting that series with existing fan bases or brand recognition tend to perform well.

Most enjoyable content on video streaming services in the U.S. 2022

This bar graph represents the most enjoyable content on selected video streaming services in the United States as of September 2022. Each color corresponds to a different streaming service: Netflix (blue), Hulu (green), Prime Video (gray), HBO Max (red), and Disney+ (yellow).

The categories of content being compared are Original TV programs, Other originals, Recent movies, Current season of network TV, Older movies, Prior seasons of network TV series, and Other.

Here are some insights from the given data:

  • Original TV programs are the most enjoyed type of content across all streaming platforms, with Netflix having the largest share of respondents at 34%.
  • For Other originals, HBO Max has the highest share, tied with Hulu and Prime Video at 31%.
  • Recent movies are more enjoyed on HBO Max (20%) and Netflix (19%) compared to other platforms.
  • The Current season of network TV is most enjoyed on Hulu (24%), which is likely due to Hulu’s partnerships with various networks for next-day streaming of recent episodes.
  • Older movies are most enjoyed on HBO Max (23%), which may reflect HBO Max’s extensive library of classic films.
  • Prior seasons of network TV series are most enjoyed on Netflix (18%), which might be because Netflix has a large catalog of complete past seasons available.
  • In the “Other” category, Disney+ has the highest share at 5%, though this category has the smallest share of respondents across all content types and services.

Overall, it is evident that streaming services have their strengths in different content categories. Netflix appears to hold a strong position in original TV programs and prior seasons of network TV series. HBO Max stands out with its collection of recent movies and older movies.

Hulu captures significant viewership for the current seasons of network TV, while Disney+ has a modest lead in the “Other” category, suggesting specialized content that doesn’t fit the traditional categories, possibly related to Disney’s strong brand and character franchises.

Number of viewers of Marvel Disney+ series premieres in the U.S. 2023

The graph is a bar chart that displays the number of viewers in millions for Marvel Disney+ series premieres in the United States as of June 2023. Each bar on the chart represents a different series and is labeled with the name of the series. The y-axis indicates the number of viewers in millions, ranging from 0 to 3 million, with incremental markings at every 0.5 million viewers. The x-axis is labeled with the names of the series.

From the graph, we can observe the following number of viewers for each series premiere:

  • “Loki”: 2.5 million viewers.
  • “The Falcon and the Winter Soldier”: 1.8 million viewers.
  • “Moon Knight”: 1.8 million viewers.
  • “WandaVision”: 1.8 million viewers.
  • “Hawkeye”: 1.6 million viewers.
  • “She-Hulk”: 1.5 million viewers.
  • “Secret Invasion”: 0.99 million viewers.
  • “Ms. Marvel”: 0.78 million viewers.

Interesting insights from the data presented include:

  • “Loki” had the highest viewership for its premiere, with 2.5 million viewers, which is a significant lead compared to the other series.
  • “The Falcon and the Winter Soldier,” “Moon Knight,” and “WandaVision” all shared the second-highest viewership tier with 1.8 million viewers each, suggesting a consistent level of high interest among viewers for these series.
  • The viewership appears to have a generally decreasing trend from “Loki” to “Ms. Marvel,” with a few exceptions where some series have equal viewership numbers.
  • “Secret Invasion” and “Ms. Marvel” have the lowest recorded viewership numbers among the series listed, at 0.99 and 0.78 million viewers, respectively, which might indicate lower relative anticipation or interest in these series premieres.

This bar chart provides a snapshot of the popularity of each series at the time of their respective premieres and could be indicative of the success of Marvel’s strategy for introducing new content to their Disney+ platform.

Distribution of content watched on Disney Plus in Finland Q3 2023, by genre

The graph is a horizontal bar chart that illustrates the distribution of content watched on Disney Plus in Finland during the third quarter of 2023, broken down by genre. Each horizontal bar represents a different genre, and the length of the bar correlates with the percentage share of views for that genre. The x-axis shows the percentage share of views, ranging from 0% to 30%, while the y-axis lists the genres.

Based on the information presented in the graph, here are the percentages for each genre:

  • Animated: 24.44%
  • Drama: 21.84%
  • Comedy: 20.43%
  • Sci-fi: 12.78%
  • Superhero: 11.09%
  • Unscripted: 4.99%
  • Fantasy: 2.11%
  • Crime: 1.89%
  • Adventure: 0.44%

Some insights we can draw from this data include:

  • Animated content is the most popular genre on Disney Plus in Finland for the given period, with just over a quarter of the total views. This could be indicative of Disney’s strong reputation for animated movies and series attracting a wide audience.
  • Drama and Comedy are also very popular genres with over 20% each, suggesting that Finnish audiences on Disney Plus have a relatively diverse interest in these types of stories and entertainment.
  • Sci-fi and Superhero content hold moderate shares of just over 10% each, indicating a robust but less dominant interest compared to Animated, Drama, and Comedy genres.
  • Unscripted content, Fantasy, and Crime genres are less watched, with each accounting for less than 5% of the total views. This could suggest that the Finnish audience on Disney Plus prefers scripted storytelling over real-life content.
  • The Adventure genre shows the least interest among the Finnish Disney Plus viewers for Q3 2023, holding a very small share of views at 0.44%. It would be interesting to investigate why this genre is less popular in Finland, which could be due to a smaller selection of adventure content or different audience preferences.

Overall, the graph sheds light on the viewing preferences of Disney Plus users in Finland, suggesting a strong preference for Animated, Drama, and Comedy content. It also highlights the importance of genre diversity for streaming platforms to cater to the varied tastes of their audience.

Most watched programs on Disney Plus South Korea 2023

The image displays a horizontal bar chart titled “Recently watched programs on Disney Plus in South Korea as of May 2023.” This chart shows the most-watched programs on Disney Plus South Korea in 2023, based on the share of respondents who have viewed these programs.

The chart has ten categories, corresponding to particular TV shows, movies, or series, listed on the y-axis. The x-axis represents the percentage of respondents, extending from 0% to 70%.

Here’s the list of programs and their respective viewership percentages according to the chart:

  • “Avengers movie series” – 57.7%
  • “Big Bet” – 56.7%
  • “Guardians of the Galaxy movie series” – 47.3%
  • “Thor” – 43.3%
  • “The Roundup – The Outlaws 2” – 43%
  • “The Night Owl” – 26%
  • “Dr. Romantic” – 22.3%
  • “The Simpsons” – 18.7%
  • “Modern Family” – 11.7%
  • “Family: The Unbreakable Bond” – 7.7%

Some interesting insights that can be concluded from the chart are:

  • The “Avengers movie series” is the most-watched program on Disney Plus in South Korea, with over half of the respondents having watched it. This indicates a strong interest in superhero films in South Korea.
  • “Big Bet” is almost as popular as the Avengers series, which suggests that it has a significant following among South Korean audiences and competes closely with Hollywood blockbusters.
  • There’s a notable preference for action and superhero movies, given the high viewership percentages of the “Guardians of the Galaxy movie series” and “Thor,” which could point to a trend in popular genres among South Korean viewers.
  • The high ranking of “The Roundup – The Outlaws 2” indicates that local content resonates well with South Korean viewers on the platform.
  • “The Night Owl,” “Dr. Romantic,” “The Simpsons,” and “Modern Family” have viewership ranging from around 10% to 26%, suggesting that while they are popular, they have a smaller share of the total viewership relative to the top-ranking programs.
  • “Family: The Unbreakable Bond” has the lowest viewership percentage on the list, which may indicate either a niche audience or possibly a newer addition to the platform that hasn’t had time to gain a wider audience.

In summary, superhero and action content seem to dominate the viewing preferences of Disney Plus users in South Korea, with both Marvel series and local action movies attracting significant viewership.

Meanwhile, international sitcoms and dramas like “The Simpsons” and “Modern Family” maintain a presence but are less dominant. This chart helps to illustrate the diverse interests of South Korean audiences and the global appeal of various genres and series on Disney Plus.

Subscribers and consumer behavior

Quarterly Disney+ subscribers count worldwide 2020-2023

This bar chart displays the quarterly growth of Disney Plus subscribers worldwide from the first quarter of 2020 through the fourth quarter of 2023. Each bar represents a quarter of the year, and the height of each bar indicates the number of subscribers in millions during that quarter.

Here are some observations:

  • Steady growth from Q1 2020 to Q4 2020: The number of Disney Plus subscribers increased consistently over each quarter of 2020, starting at 26.5 million in Q1 and more than doubling to 60.5 million by Q3, before closing the year with 73.7 million subscribers.
  • Significant growth through 2021: The year 2021 shows impressive growth, starting from 94.9 million in Q1 and growing each quarter to reach 129.8 million by Q4.
  • Fluctuations in 2022: There was notable growth in subscriber count in the first two quarters of 2022, reaching 152.1 million in Q1 and 164.2 million in Q2. However, there’s a slight decline in Q3 2022 with 161.8 million subscribers, followed by a more notable drop to 157.8 million in Q4.
  • Further Decline in 2023: Starting in Q1 of 2023, there is a decline to 146.1 million subscribers. This declining trend continues through Q2 and Q3, with subscriber counts of 150.2 million and 150.2 million respectively, indicating a stabilization of subscriber numbers. Q4 2023 shows a small drop to 150.2 million, ending the year with stable or slightly declining numbers.

Interesting insights:

  • There was rapid growth in the subscriber base during the first year and a half after launch, signaling a strong market entry.
  • The decline starting in the later quarters of 2022 could be due to a saturation in the market, increased competition, seasonal variations, or other unknown factors not evident from this graph alone.
  • The stabilization of the subscriber count in 2023 suggests that the service might have reached a threshold of sustainable subscriber numbers after the initial explosive growth phase.
  • The graph does not specify the causes behind the trends and as such, can only show the performance in subscriber numbers. Factors influencing these patterns would require additional data and context.

Frequency of using Disney Plus in the U.S. 2022, by gender

The graph depicts the frequency of watching Disney Plus in the United States in 2022, broken down by gender. The horizontal axis lists different frequencies of watching Disney Plus: “Multiple times a day,” “Once daily,” “A few times per week,” “Once per week,” “A few times,” “Once,” and “Never.” The vertical axis represents the share of respondents, expressed as a percentage.

Each frequency category has three bars representing the total share of respondents, followed by the share of male and female respondents respectively. Here’s a breakdown of the data:

  • “Multiple times a day”: A small percentage of the total respondents watch Disney Plus multiple times a day (6%), with males at 5% and females at 7%.
  • “Once daily”: The total is at 5%, with males and females both at 4%.
  • “A few times per week”: 13% of the total, with males slightly lower at 12% and females higher at 14%.
  • “Once per week”: A total of 7% of people watch once per week, 8% of males and 6% of females.
  • “A few times”: This option has a similar share among the total, male, and female respondents at 9%, 6%, and 12% respectively.
  • “Once”: This frequency is relatively low amongst all groups, with totals at 4%, males at 5%, and females at 4%.
  • “Never”: The majority of respondents indicated they never watch Disney Plus, with the total at 55%, males at 57%, and females at 54%.

From this data, there are several interesting insights:

  • The largest segment of the respondent population, regardless of gender, states that they never watch Disney Plus.
  • There is a relatively consistent distribution across the different frequencies indicating that there’s a balanced spectrum of user engagement, from multiple views per day to just once.
  • Female respondents tend to use Disney Plus a bit more frequently than males. This is particularly noticeable in the “A few times per week” category where females exceed males by 2%, and in the “A few times” category with a 6% difference.
  • While frequency categories that indicate higher engagement (“Multiple times a day” and “Once daily”) have low percentages, it’s still notable that a niche audience engages with the service very frequently.

This graph can help Disney Plus understand their audience’s viewing habits better and tailor their strategies accordingly. It can also inform decisions related to content creation, marketing, and service improvements specific to gender demographics.

Frequency of using Disney+ in the U.S. 2022, by age

The graph shows the frequency of watching Disney Plus in the United States as of November 2022, broken down by age groups: 18-34, 35-44, 45-64, and 65+. The horizontal axis enumerates various frequencies of watching Disney Plus, from “Multiple times a day” to “Never.” The vertical axis indicates the share of respondents in percentages.

Here’s the data breakdown by age group for each frequency category:

  • “Multiple times a day”: The 18-34 age group has the highest percentage at 11%, decreasing with age to almost 1% for the 65+ age group.
  • “Once daily”: This category is also led by the 18-34 age group at 9%, decreasing with age.
  • “A few times per week”: The highest is again the 18-34 age group at 19%, with substantial declines in older demographics.
  • “Once per week”: Led by the 18-34 age group at 10%, with the eldest group at 6%.
  • “A few times”: Similar trend with younger groups watching more frequently, peaking at the 18-34 age group at 10%.
  • “Once”: This shows an almost uniform distribution across age groups.
  • “Never”: The trend reverses, with the highest rate of non-viewership in the oldest group at 81%, and the youngest group has the lowest at 35%.

Key insights from this graph:

  • Younger viewers (18-34) are the most frequent watchers of Disney Plus, with a significant share watching multiple times a day or daily.
  • As the age of the respondents increases, the frequency of watching Disney Plus declines significantly. This could indicate that younger audiences are more engaged with streaming services, or that Disney Plus content resonates more strongly with a younger demographic.
  • A large portion of the oldest group (65+) reports not using Disney Plus at all (81%), suggesting that the service may be less appealing or less known to this age group.
  • While the frequency of once per week to multiple times a day decreases with age, the “Once” category doesn’t show a clear trend, suggesting that experimenting with the service or occasional viewing might not be as strongly correlated with age.

These insights could be critical for Disney Plus when considering marketing strategies and content targeting, as well as understanding the broader trends in media consumption across different age groups. It suggests a potential opportunity to increase engagement with older demographics, possibly through targeted content, accessibility features, or tailored marketing campaigns.

Frequency of using Disney Plus in the U.S. 2022, by generation​

The graph depicts the frequency of watching Disney Plus in the United States by generation as of 2022. The generations reflected are Gen Z, Millennials, Gen X, and Baby Boomers. The frequency categories range from “Multiple times a day” to “Never.” The vertical axis indicates the percentage share of respondents within each generation.

Analyzing the data:

  • “Multiple times a day”: Gen Z has the highest percentage at 11%, followed by Millennials at 9%. Gen X and Baby Boomers have the lowest percentages at 1% each.
  • “Once daily”: Gen Z leads with 8%, followed by Millennials at 6%, Gen X at 1%, and Baby Boomers not registering here.
  • “A few times per week”: Millennials are the highest at 16%, then Gen Z at 13%, Gen X at 7%, and Baby Boomers again at a minimal 1%.
  • “Once per week”: Gen Z and Millennials are equal at 7%, followed by 3% of Gen X, and Baby Boomers are barely present.
  • “A few times”: The pattern continues with Millennials at 11%, Gen Z at 10%, Gen X at 5%, and Baby Boomers at 4%.
  • “Once”: Here, Millennials show 9%, Gen Z at 8%, Gen X at 6%, and Baby Boomers at 3%.
  • “Never”: A staggering 77% of Baby Boomers have never watched Disney Plus, in stark contrast to 38% of Gen X, 34% of Millennials, and 55% of Gen Z.

Key insights from this graph:

  • Disney Plus is significantly more popular among younger generations, with Gen Z and Millennials reporting much more frequent use compared to Gen X and Baby Boomers.
  • There is a steep generational drop-off in engagement with Baby Boomers, of whom 77% claim to have never used the service. This suggests that Disney Plus has lower penetration and relevance among older demographics.
  • Gen Z leads in the highest frequency of viewing (multiple times a day), but the Millennials generally show consistent engagement across all the more frequent categories.
  • Occasional use (“A few times” to “Once”) is relatively evenly distributed across Gen Z, Millennials, and Gen X, suggesting that at least trying the service is common across these three generations.

Implications from these insights could be that Disney Plus might look into strategies to attract or cater to older audiences, such as offering content that appeals more to Gen X and Baby Boomers or by improving accessibility and marketing strategies targeting these demographics. It also points to the importance of focusing on keeping the Gen Z and Millennial user base engaged since they currently represent the most avid and active user groups.


AVOD revenues worldwide 2028, by platform

The graph shows projected ad-supported video-on-demand (AVOD) revenues for TV series and movies worldwide in 2028, divided by various platforms and measured in billions of U.S. dollars. The platforms listed include Disney+, Paramount+, YouTube, Hulu U.S., Netflix, Peacock U.S., HBO, Roku U.S., Pluto TV U.S., Tencent China, Facebook, and Others.

From the graph, we can observe the following:

  • “Others” category is by far the largest, with projected revenues of 40 billion U.S. dollars, suggesting that there is a significant share of the AVOD market not dominated by the named platforms.
  • Disney+ is the leader among the named platforms with projected revenues of 11.4 billion U.S. dollars.
  • Paramount+ follows at 5.4 billion U.S. dollars, with YouTube very close behind at 5 billion U.S. dollars.
  • Hulu U.S., Netflix, and Peacock U.S. are in a tight cluster with anticipated revenues of 4.7, 4.6, and 4.6 billion U.S. dollars, respectively.
  • HBO and Roku U.S. are next, with projections of 4.3 and 3.1 billion U.S. dollars.
  • The platforms with the lowest anticipated revenues on this graph are Pluto TV U.S. at 3 billion, Tencent China at 2.3 billion, and Facebook at 2.2 billion U.S. dollars.

Key insights from this graph include:

  • The AVOD market is expected to be highly fragmented, as indicated by the “Others” category having the largest share, which could imply that there are many smaller platforms or new entrants expected to take a significant portion of the market.
  • Disney+ appears to be a strong player in the AVOD market, significantly ahead of its well-known competitors.
  • There is substantial competition among the middle-tier platforms (Paramount+, YouTube, Hulu U.S., Netflix, and Peacock U.S.), with all of them showing comparable projected revenues.
  • International platforms like Tencent China may have a smaller share of the global AVOD market despite potentially commanding significant revenue in their respective local markets.
  • Traditional networks and studio-backed platforms (like HBO and Paramount+) as well as tech companies (like YouTube, Netflix, and Facebook) are all competing in this space, suggesting that the boundaries between technology and entertainment are increasingly blurred.
  • The substantial projected revenue for platforms like Roku U.S. indicates a growing market for AVOD services beyond content producers, toward distribution and technology-oriented platforms.

The data indicates a trend toward ad-support models possibly becoming more common or growing in the future, as significant revenues are expected by 2028.

This could also suggest a shift in consumer preferences, with viewers being more open to ad-supported content as a trade-off for free or reduced subscription costs. The industry may continue to evolve in terms of content delivery and monetization strategies based on these trends.

Reactions to new ad-supported tiers of Netflix and Disney+ in the U.S. 2022

The graph shows the reactions of Disney Plus and Netflix subscribers to the introduction of new ad-supported tiers in the United States as of November 2022. The graph shows three response options: “Stay ad-free,” “Switch to a tier with ads,” and “Cancel.” For both Disney Plus and Netflix, responses are shown as a percentage share of respondents.

For Disney Plus:

  • 54% of respondents indicated they would stay ad-free.
  • 35% of respondents were willing to switch to a tier with ads.
  • 11% of respondents said they would cancel their subscription.

For Netflix:

  • 71% of respondents would prefer to stay ad-free.
  • 24% would switch to a tier with ads.
  • A smaller portion of 6% would cancel their subscription.

Insights that can be gathered from this graph include:

  • High preference for ad-free content: A majority of subscribers for both Disney Plus and Netflix prefer to stay with their ad-free plans. Netflix subscribers showed an even stronger preference for this, with 71% wishing to remain ad-free compared to 54% for Disney Plus.
  • Acceptance of ads for lower cost: A significant portion of subscribers are open to the idea of switching to a tier with ads, indicating a notable segment of the market prioritizes cost savings over the convenience of uninterrupted viewing. 35% for Disney Plus and 24% for Netflix mark a substantial consumer base interested in such offerings.
  • Cancellation is not the most popular reaction: The graph suggests that the introduction of ad-supported tiers is unlikely to lead to significant cancellations among current subscribers, with only a small minority saying they would cancel their subscriptions—11% for Disney Plus and even less, 6%, for Netflix.
  • Greater loyalty among Netflix subscribers: The data could be interpreted as showing that Netflix subscribers are more loyal or more averse to ads, with a higher percentage preferring to stay ad-free and a lower percentage indicating they would cancel.
  • Market for ad-supported plans: There is a tangible market for ad-supported subscription tiers, which could influence how streaming services develop their offerings in the future. This shows an opportunity for streaming services to diversify their revenue streams and cater to different customer preferences.
  • Subscriber sensitivity to pricing and ad tolerance: Streaming services might use this data to balance the price points and ad load of their ad-supported tiers to ensure they’re attractive enough to a large portion of their subscriber base without cannibalizing their ad-free revenue too much.

This information can help Disney Plus and Netflix understand consumer behavior related to pricing and advertising, and guide them in optimizing their subscription models to cater to varying preferences among their user bases.

Non-subscribers’ reactions to ad-funded tiers of Netflix & Disney+ in the U.S. 2022

The graph shows the responses of non-subscribers regarding their likelihood to subscribe to either Disney+ or Netflix if they introduced ad-supported subscription options.

The reactions are categorized into three options: “Subscribe ad-free,” “Subscribe with ads,” and “Not subscribe.” These options are denoted by different colors, with dark blue representing “Subscribe ad-free,” light blue representing “Subscribe with ads,” and gray representing “Not subscribe.”

For Disney+:

  • 11% of respondents would subscribe ad-free.
  • 11% would subscribe with ads.
  • 78% would not subscribe at all.

For Netflix:

  • 8% of respondents would subscribe ad-free.
  • 15% would subscribe with ads.
  • 78% would not subscribe.

Some insights that can be gleaned from this data include:

  • A significant majority (78%) of non-subscribers for both services indicated that they would not subscribe, regardless of the introduction of an ad-supported tier. This suggests a strong resistance to subscribing among this cohort, potentially due to content preference, satisfaction with alternative services, or aversion to the subscription cost, even if it’s reduced with ads.
  • Netflix has a slightly higher percentage than Disney+ of non-subscribers who would consider an ad-supported subscription (15% vs. 11%). This could imply that there’s a bit more interest in Netflix’s content or price points, even with the understanding that ads would be included.
  • The willingness to subscribe ad-free is lower for Netflix (8%) compared to Disney+ (11%), suggesting that the Disney+ brand or its ad-free offering may be perceived as slightly more appealing to these non-subscribers.
  • Both services have the same proportion of non-subscribers who are not interested in subscribing (78%), showing that the introduction of an ad-supported tier might not be enough to significantly change the subscription decisions for a large portion of non-subscribers.

Overall, the data suggests that while an ad-supported tier may capture some new subscribers, a sizable group remains uninterested in subscribing to either service.

Netflix may have a slight edge in attracting ad-supported subscribers, but overall resistance to subscriptions is high for both platforms among this particular group of non-subscribers.

Wrapping up

Our thorough examination of Disney Plus reveals that the platform’s curated content, coupled with its strategic approach to subscriber engagement and targeted advertising, has played a substantial role in its market penetration. The focused study on customer behavior patterns highlights a strong reception to Disney Plus’s branding and its offerings, pointing to a sustained potential for growth.

With foresight into the industry’s trajectory, Disney Plus is well-positioned to tailor its strategies to both current and prospective audiences in the ever-changing SVOD market. The insights from this study underscore the transformative nature of streaming services and the critical importance of marrying quality content with nuanced marketing tactics to capture and maintain viewer interest.

Sarah Thompson

Author & Editor

About the Author

Sarah, a University of Southern California graduate in Information Technology, is a seasoned IT professional and cybersecurity specialist with over a decade's experience. She honed her skills at a leading cybersecurity firm, specializing in data privacy and VPNs. Her meticulous approach and extensive hands-on experience make her a respected author and trusted voice in the industry, particularly on VPN and streamiing services.

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