Tag: TV series

  • Netflix sets guardrails for AI in film and TV productions

    Netflix sets guardrails for AI in film and TV productions

    MUMBAI: Netflix has moved to head off potential controversy over the creeping use of artificial intelligence in film and television, issuing sweeping new guidance for filmmakers, vendors and production partners. The rules, circulated globally this week, make clear that while generative AI (GenAI) can be deployed as a creative aide, it must not slip quietly into final cuts without disclosure, scrutiny and, in some cases, written approval.

    The streamer has stressed that AI is welcome for ideation — moodboards, concept sketches, mock posters — but warns of red lines when it comes to intellectual property, talent likeness and story-critical material. In other words, it’s one thing to ask an algorithm to imagine a dystopian cityscape for a pitch deck; quite another to use it to conjure a new character, rewrite an actor’s performance, or mimic a celebrity’s voice.

    The dos and don’ts

    The 20-page guidance has outlined a hierarchy of acceptable uses. Low-risk experiments that are non-final, non-identifiable and non-copyrighted can usually proceed with a simple “socialise and share” approach. But any GenAI-generated material that:
    * incorporates Netflix’s proprietary assets (scripts, footage, unreleased stills),
    * alters talent performances beyond cosmetic fixes,
    * relies on copyrighted datasets (such as celebrity faces or artistic styles), or
    * appears as final on-screen deliverables,
    must be escalated to the company for legal review and explicit sign-off.

    Perhaps the sharpest line the guidelines draw is around talent. Synthetic replicas of performers — whether de-aged faces, digital bodies or AI-generated voices — require documented consent, in line with union rules. Even subtle digital alterations, such as tweaking lip-sync or emotional delivery, are flagged as reputationally sensitive. Netflix says it permits the use of AI for minor industry-standard post-production tweaks (noise reduction, continuity fixes, cosmetic adjustments), but not for material changes that could distort intent or replace union-covered work.

    The streamer, says it is acutely aware of the reputational stakes. It warns against AI-generated content that could mislead viewers into believing fabricated events are real — such as fake news clips or invented statements attributed to journalists. It has also cautioned against undermining union jobs, an especially hot-button issue after last year’s strikes in Hollywood over the threat posed by AI.

    Vendors and AI studios delivering to Netflix are being told to adhere to the same standards, even if they build custom workflows by stitching multiple tools together. Confidentiality remains non-negotiable: all inputs — from scripts to actor headshots — must be protected inside secure, enterprise-level tools that prevent reuse or resale of data. Production partners have been reminded that they are personally responsible for checking licences, terms and conditions of any third-party AI software.

    The guidance draws a hard distinction between temporary AI-assisted mock-ups and content that makes it into the final cut. A background prop generated by AI may appear harmless, but if a character reads it aloud, it becomes story-relevant and must undergo rights clearance. Netflix insists partners flag such cases early to avoid last-minute legal headaches.

    Why now?
    The move reflects the industry’s jittery embrace of GenAI. While many creatives are already experimenting with it in design, concept art and even scriptwriting, studios are scrambling to balance innovation with ethics, copyright law and union agreements. Netflix is positioning itself as neither a Luddite nor a cheerleader — encouraging experimentation, but within guardrails designed to protect talent, data and audience trust.
    The message from Los Gatos is blunt: AI may be the new toy in the toolbox, but when it comes to finished stories and performers’ rights, the humans are still in charge.

    You can find the detailed guidelines here.
     

  • Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    MUMBAI:  While the Motion Pictures Association (MPA)  loves pointing fingers at India for its piracy woes, they may want to swivel their gaze towards Europe. New data from consultancy firm GECA reveals that a staggering 47.4 per cent of OTT viewers in Spain are tucking into pirated content—no paid subscription in sight.

    The pirate’s treasure chest? Movies top the loot list at 32.8 per cent, followed closely by TV series (30.6 per cent) and sports (18.4 per cent).

    The biggest buccaneers are aged 18–24, followed by the slightly older but no less rebellious 25–34 crew. Even the silver surfers are getting their share—piracy among the 55+ age group has jumped 4.5 points, now clocking in at 32.6 per cent.

    Notably, piracy among 25–34-year-olds surged 5.2 points, hinting at an underground boom even among the prime-income streamers. Whether it’s a protest against high prices or just a thrill of the steal, one thing’s clear—Spain’s illegal streaming scene is alive, well, and growing.

  • Series Mania: The French TV festival unveils its 2021 slate

    Series Mania: The French TV festival unveils its 2021 slate

    Mumbai: Series Mania, the French television festival held in Lille, has announced its 2021 line-up ahead of the event set for 30 August. Series Mania’s president Rodolphe Belmer, founder and general director Laurence Herszberg recently unveiled details for the upcoming event.

    Series Mania 2021 offers exclusive world premieres of the greatest international series from more than 20 countries. At the same time, the festival welcomes 3,000 international professionals from the television industry at Series Mania Forum and Lille Dialogues summit set for 30 August-1 September. Two key events for networking and business are now extended online with the creation in 2020 of Series Mania Digital Forum.

    The 2021 international jury includes: Entertainment One, head of Drama, Polly Williams, producer and creator of “Masha” Maria Feldman, France Televisions’ VP-digital Sened Dhab, Indiana Productions’ film & TV head and partner Daniel Campos Pavoncelli.

    The festival will open with the world premiere of British thriller “Vigil,” a World Production for BBC, in association with ITV Studios in partnership with ARTE, starring Suranne Jones and Rose Leslie.

    The international competition jury will be chaired by screenwriter, director and producer Hagai Levi (BeTipul, The Affair, Our Boys) and contenders include “Kamikaze” (Denmark, HBO Max), “Anna” (Italy); “Blackport” (Iceland), “Furia” (Norway, Germany), “Germinal” (France, Italy), “Hamlet” (Turkey), and “Jerusalem” and “The Echo of Your Voice” (both Israel).

    The festival will also see premieres of several American series, including the AMC dramedy “Kevin Can F**k Himself” starring Annie Murphy, and Peacock’s true-crime thriller “Dr. Death” starring Alec Baldwin, Christian Slater, Carrie Preston, and Joshua Jackson.

    Other premieres include season five of Netflix’s hugely anticipated, “Money Heist”.

    Series Mania ’21 will host guests of honor including “Breaking Bad” creator Vince Gilligan, “Dexter” showrunner Clyde Philipps, and “The Good Fight” actress Audra McDonald. 

  • The List Of Indian TV Serials That Broke Stereotypes

    The List Of Indian TV Serials That Broke Stereotypes

    Since the dawn of the television industry, you all must have seen hundreds of serial dramas. Over the last three decades, serials have been a major part of our daily life. From ‘Ramayana Epic’ to ‘Kyunki Saas Bhi Kabhi Bahu Thi’ to ‘Service Wali Bahu’, everyday family members will sit together in the evening at the dinner table and watch these serials and laugh and cry together. These daily soaps influenced, dominated and established a large part of our society. And there is no doubt in saying that they left their essence to the core of our hearts and minds.

    However, the emerging socialization in the past decade has greatly changed the mindsets of the people of our country. For the better, this has also encouraged our serial directors to deviate from the usual saas-bahu dramas to more social stories, which is both hit among masses and useful to educate new-age India and break stereotypes.

    With the introduction of modern technology, smartphones, online casino, and Netflix we are rarely left with dull moment. Meaningful plots of the TV shows have helped in changing the perceptions of the people who still believed in the items of old faiths, stereotypes, and taboos!

    Here’s the list of Indian TV serials that have broken the stereotypes over the past few years:

    GANGAA

    Gangaa was launched on March 2, 2015 and is still an ongoing TV serial that airs on &TV. This TV series took up the serious issue of child widow custom in India. The plot revolves around Gangaa (played by Ruhana Khanna), a child widow. She has an indomitable will to survive and live her life to the fullest, against all old-age beliefs and norms that society is trying to impose on her. This shows the main aim is to abolish the child widow culture that is still rampant in many parts of the country.

    UTTARAN

    Uttaran debut in December 2008 and we all saw the finale episode of this amazing Indian soap opera in January 2015. This show is about two childhood friends, Ichcha and Tapasya that come from the different strata of society. This TV series showcases how despite the vast difference in their status, these two little girls become the best of friends. However, cut to 10 years we see some jealousy creeping into their relationship due to the entry of some negative characters. However, the initial theme of the show seems to break all the stereotypes regarding friendship and teach us how friendship is about connection and not about social status.

    BALIKA VADHU

    With 2,245 episodes in a span of approximately 8 years, Balika Vadhu swayed the nation from its very beginning. This show's main premise revolves around the still ongoing child marriage in our country. The child groom and bride were played by Avinash Mukherjee and Avika Gor respectively. The story revolves around the two getting married as children, growing up together, and facing difficulties related to child marriage because of their family’s involvement in the process. Through their strong storyline, this shows keeps on throwing across some critical social messages to the audiences. In 2008, the series won the ‘Best Programme With A Social Message’ award at the 8th Indian Telly Awards.

    Service Wali Bahu

    This Indian soap opera was launched in February 2015. The story of this women-centric show revolves around Payal (played by Kratika Sengar), who is a civil engineer, a homemaker and a sole bread-earner of her family. In order to support her in-laws and unemployed husband, she goes out to work. Not only the protagonist is earning bread but is taking care of household and homemaking tasks. This serial shows full support to feminism which also talks about other Indian customs such as the dowry system. Payal’s life has inspired many women in our country and it won’t be wrong to say that it has broken many stereotypes and old norms regarding women.
    These TV serials have changed the way people think and have shattered many stereotypes. And the new open way of thinking will take our country forward.

  • Porus reaches 10 Asian countries

    Porus reaches 10 Asian countries

    MUMBAI: Porus is travelling internationally. The mythological show being aired on Sony Entertainment Television has made its entry in Malaysia, Vietnam, Cambodia, Brunei, Laos and Myanmar through JKN Global Media and in Indonesia with Soraya Intercine Films.

    Porus is now being watched in 10 Asian countries including Sri Lanka and Thailand. In Thailand, the show is being broadcast on weekdays at primetime slot. The show will be dubbed in Malay, Thai, English, and Burmese.  

    In its first week, it bagged 3.6 million impressions in BARC week 48 of 2017. After completing its tenth week on air, the latest ratings of week 5 for 2018 show Porus at 3.3 million impressions.

    One Life Studios founder and chief creative Siddharth Kumar Tewary says, “Porus is rapidly taking over the world, with nine countries sold since the incredible launch just last November. We are very proud to share the important and exciting story of Porus with a global audience, and we intend to announce additional territories in the near future.”

    The story is an epic tale of a war between India’s emperor Porus and the West’s Alexander the Great. Set in 350 BC, the story narrates a time when India was at glorious best and Porus resisted the first attack on Indian soil by the Macedonian legend.

    Also Read:

    ‘Porus’ finds an audience in more countries

    ‘Porus’ viewership soldiers on

  • India-UK co-produce ‘The Far Pavillions’ for $150 mn

    India-UK co-produce ‘The Far Pavillions’ for $150 mn

    MUMBAI: MM Kaye’s novel The Far Pavillions, which speaks of an Englishman being raised as a Hindu during the British Raj and falls in love with an Indian princess, is being remade for TV by a UK-India duo at a budget of $150 million.

    Beautiful Bay Productions, run by India-based Michael Ward and Britain’s Collin Burrows, is targetting 30 episodes of one hour each. The cast and crew will prominently be from the two countries while post-production will take place in London and the shooting will be in India.

    Thirty years ago, the novel was made into a three-episode mini TV series by HBO starring Ben Cross, Amy Irving, Omar Sharif, and Christopher Lee. Ward has condensed the novel into a play. He said, “It’s the perfect time to take my stage adaptation of Mollie Kaye’s masterpiece much further and deeper into its Indian cultural landscape, and to invite the best of Indian and British talent to contribute towards turning it into a high-end television series authentically written and cast for a global audience,” he said.

    London mayor Sadiq Khan is touring Mumbai as part of the UK-India Year of Culture. “It represents the best of British and Indian talent and sends a clear message to the rest of the world that London is open to partnerships, to collaboration, to creativity and for business,” said Khan.

    British Film Commission Film London chair Adrian Wootton added,“This adaptation promises to be a sumptuous spectacle in its own right but it’s also indicative of how our above- and below-the-line talent can come together to create a production that harnesses everything from Indian locations to London’s world-famous post-production expertise.”

  • Netflix plans to become leading producer & distributor of high-quality Indian content

    Netflix plans to become leading producer & distributor of high-quality Indian content

    MUMBAI: Online properties are gradually overtaking television in the race to become video content leaders. From mass programming, entertainment now is moving towards personalised experience curated for each individual. Netflix plans  to become a leading producer and distributor of high-quality Indian content. In 2017, it has been doubling down on Indian investment and looking to put together a good content library.

    This year, it announced partnerships with Videocon, Airtel and Vodafone — which would help Netflix go deep into the diverse Indian market, taking in up millions of users to watch Netflix on a mobile phone, TV or through a set-top box.

    Netflix, although, very expensive as compared to the monthly subscription of other OTT / VoD players in India came to the rescue of content lovers, Netflix Asia vice president of communications Jessica Lee tells Verve.

    Be it TV shows or movies, Netflix, which closed Q2 2017 with 104 million members globally, has revolutionised video watching. It offers movies such as Okja and War Machine (both 2017) to a battery of shows such as House of Cards, Narcos and The Crown. Even though Netflix India charges the steepest subscription, it remains popular owing to its content.

    A viewer earlier spent months following a TV series to conclusion, but now, Indians are finishing a series in three days (although, the global average is four days) such as Unbreakable Kimmy Schmidt, Narcos, Bloodline Jessica Jones. The most-loved genre in India is sci-fi, Netflix believes.

    Netflix believes it is touching a pool of consumers in India with a great passion for diverse entertainment.  The VoD service offers global original shows from The Crown and Stranger Things to mainstream, star-driven Indian films such as Shah Rukh Khan movies, Baahubali and Dangal.

    It is also working on independent films with film-makers in India. Comedy is another popular genre in India which Netflix is thriving on with original specials from Aziz Ansari, Russell Peters, Ali Wong, Chris Tucker, Hasan Minhaj and Dave Chappelle.

    Some of the popular Netflix originals in India, one of its heaviest users of the ‘download’ feature, are Daredevil, Luke Cage, Narcos, House of Cards, The Crown, Stranger Things and Master of None. As a global platform, Netflix sees great stories travelling across regions which is a huge opportunity for Indian content creators.

    Indian content is a part of Netflix’s global plan. For 2017, its content budget is USD 6 billion for both, licensed and original content. It plans to reach over 1,000 hours of original content this year — about 400 original TV series and films including ones from India.

    On the originals front, Netflix is focused on finding great Indian stories – for the world to see, ‘Sacred Games’ being the first. It recently announced two other originals, Selection Day and Again. Another area for Netflix is top-quality local stand-up originals with, for example — Aditi Mittal and Vir Das.

    Netflix believes watching together is becoming a trend in India, with 79 per cent of couples surveyed saying that streaming is a way to spend time together. It has gathered that India is a nation of commute streamers. Indians, it says, are 82 per cent more likely to stream at 9 am, and the peak streaming time in India is 5 pm.

    An interesting habit Netflix has observed in India is that while 31 per cent of its subscribers sign up on mobiles, they move to TV around six months later. While sign-ups on television are lower (at 12 per cent), within six months that behaviour grows to about 32 per cent. Netflix concludes that consumers are taking advantage of the flexibility it allows — to watch on multiple devices.

    ALSO READ :

    Netflix to premiere multilingual original The Eddy by Academy award-winner Chazelle

    Indian content at Netflix to be creatively lead by Disney’s Simran Sethi

    Disney parts ways with Netflix, plans sports & TV shows VoDs, buys BAMTech majority

     

  • Inclined to stop watching pirated content, say 50% consumers: Irdeto

    NEW DELHI: Despite the high number of consumers around the globe watching pirated video content (52%), nearly half (48%) would stop or watch less illegal content after learning the damage that piracy causes the media industry.

    This willingness by nearly half of consumers to change their viewing habits would mean a huge impact that education could have on reducing the number of people who pirate video content.

    This was one of the main findings of The Global Consumer Piracy Survey of more than 25,000 adults across 30 countries conducted by major leader in digital platform security Irdeto. The report was made public in a Cable Congress in Brussles in Belgium.

    The positive outcome of an industry-wide education initiative could have the most impact in Latin America and Asia-Pacific regon.

    The survey showed that fifty-nine percent of consumers who watch pirated content in Latin America and 55% in APAC stated they would watch less or stop watching pirated video content after learning that piracy results in revenue loss from studios, affecting investments in future content creation.

    APAC (61%) and Latin America (70%) had the most consumers who admitted to watching pirated content, while those in Europe (45%) and the US (32%) said they pirate the least. These results indicate that consumers in Europe and the US have more access to the content they desire, reducing their need to watch pirated content.

    The survey also showed that 18 to 24 year old consumers in India (20%) were the most likely to watch pirated content on a streaming device. Around 52% percent of consumers in China in this age bracket indicated that mobile devices are their preferred method of consuming pirated content (that is, smartphones or tablets).

    Conversely, only 45% in Europe and 38% of respondents from the United States said that they would watch less or stop watching pirated content. This indicates that simply educating consumers in these regions about damages associated with revenue loss may not be enough.

    However, an education initiative focusing on piracy’s impact on the creative process of producing content, coupled with knowledge on how piracy is often linked to criminal organizations and that pirated content could include malware aimed at stealing consumer’s personal information, may resonate better in those markets, according to an Irdeto release.

    Irdeto CEO Doug Lowther said: “A battle is being waged in the media & entertainment industry. Legal content offerings are no longer only competing against each other. Pirates have undoubtedly grown into a formidable foe that should not be ignored. With more than half of consumers openly admitting to watching pirated content, it is crucial that the industry tackle piracy head-on. To do so will require technology and services to protect the legal content as well as a comprehensive education program to help change the behavior of consumers. Coupled with a 360-degree anti-piracy strategy, the market is fully prepared to take the battle against piracy to the next level.”

    The Irdeto Global Consumer Piracy Survey also showed an illegal vs legal awareness gap: While many consumers across the globe recognize that producing or sharing pirated video content is illegal (70%), far fewer people are aware that streaming or downloading (watching the content) is also against the law (59%). In Latin America, this gap was widest with 75% of respondents stating that producing or sharing pirated content is illegal, compared to only 60% recognizing that streaming or downloading is illegal.

    The overall survey results suggest that more education may be required around the globe to educate consumers that engaging in any form of piracy (producing, sharing, downloading or streaming) is illegal, Irdeto said.

    In nearly every country surveyed, many consumers recognize that producing or sharing pirated video content is illegal. But the survey found that this was not the case in Russia. A staggering 87% of respondents do not think that producing or sharing pirated video content is illegal. In addition, 66% believe that it is not illegal to download or stream pirated video content.

    Laptops were universally the preferred device for the consumption of pirated video content. Consumers in Europe (65%), APAC (45%), Latin America (53%) and the US (41%) stated that this was their most frequent method of consuming pirated content. However, a shift has already started, with many 18 to 24 year old youngsers surveyed indicating that they use mobile or streaming devices the most to watch or access pirated video content.

    The Gulf Cooperation Council (GCC) cracked the top five in both categories, indicating that its population of 18 to 24 year old people are ahead of the curve when it comes to using mobile or streaming devices instead of laptops to view pirated video content.

    Interestingly, the Kodi box only registered as a top device to pirate content in the UK, with 11% of pirating consumers using the streaming device to access illegal content. The second highest percentage was in Portugal where 6% of consumers use Kodi to access pirated content. The highest percentage of Kodi users in the UK were in the 35-44 and 55+ age groups at 18% each. This is in stark contrast to the 3% of 18-24 year old’s using a Kodi box to pirate content.

    Movies that are currently being shown in cinemas/theaters (27%) and TV series (21%) were the most popular types of pirated content. Also, while live sports piracy is a growing industry problem, one surprise in the survey results was the percentage of pirating consumers who indicated that live sports was the type of pirated video content they were most interested in. The only countries that listed it in their top two were Portugal (25%), Egypt (23%) and GCC (19%).

    While the negative impact of live sports piracy is already being felt by the industry, this indicates that the market still has an opportunity to educate consumers about the damage that piracy causes the live sports space before the problem grows even larger. This education will be especially important for males as more men in each country indicated that live sports is the type of content they are most interested in pirating, while a majority of women prefer to pirate TV series.

    “Education around the negative impact of piracy on both the industry and the consumers themselves is an important element of any anti-piracy strategy,” said Irdeto vice-president of services Rory O’Connor. “The results of this survey show that many countries are open to change. To elicit this change in consumer habits will take a concerted effort from all the industry players to not only educate consumers about the negative impact of piracy, but also continued innovation to address the three elements of consumer choice – content, value and convenience.”

    The survey was commissioned by Irdeto and conducted online from 29 December 2016 to 16 February 2017 by YouGov Plc. A total of 25,738 adults (aged 18+) in 30 countries agreed to take part in the survey. Countries surveyed include: Argentina, Australia, Austria, Brazil, China, Colombia, Denmark, Egypt, GCC (GCC region cluster comprised of Saudi Arabia, UAE, Kuwait, Qatar, Bahrain and Oman), Germany, India, Indonesia, Italy, Mexico, Poland, Portugal, Romania, Russia, Spain, Sweden, Switzerland, Turkey, Ukraine, UK and US. Figures have been weighted appropriately to be representative of adults in each country (e.g. nationally representative, urban representative, online representative).

  • Netflix’s binge scale reveals TV series to devour and savor upon

    Netflix’s binge scale reveals TV series to devour and savor upon

    MUMBAI: Netflix members around the world are making their own rules when it comes to watching TV. Instead of one episode per week, Netflix members choose to binge watch their way through a series. Though binge watching is clearly the new normal, not all series are enjoyed the same way. Netflix has unveiled The Binge Scale, revealing which shows they devour and which they savor.

    Netflix examined global viewing of more than 100 serialized TV series across more than 190 countries and found when members are focused on finishing a series, they watch a little over two hours a day to complete a season. When organizing series in relation to this benchmark, interesting patterns emerge, ranging from high energy narratives that are devoured to thought-provoking dramas that are savored.

    Series like Sense8, Orphan Black and The 100 grab you, assault your senses, and as The Binge Scale shows, make it hard to pull away. The classic elements of horror and thrillers go straight for the gut, pushing the placement of series like The Walking Dead, American Horror Storyand The Fall towards the devour end of the scale. Likewise, comedies with a dramatic bent, like Orange is the New Black, Nurse Jackie andGrace and Frankie, seem to tickle our fancy and make it easy to say ‘just one more.’

    It’s no surprise that complex narratives, like that of House of Cards and Bloodline, are indulged at an unhurried pace. Nor that viewers take care to appreciate the details of dramas set in bygone eras, like Peaky Blinders and Mad Men. Maybe less obvious are irreverent comedies like BoJack Horseman, Love and Unbreakable Kimmy Schmidt. But the societal commentary that powers their densely layered comedy paired with characters that are as flawed as they are entertaining allow them to be savored.

    “As The Binge Scale indicates, the viewing experience of a series can range from the emotional to the thought-provoking,” said Netflix VP of original content Cindy Holland. “Netflix helps you to find a series to binge no matter your mood or occasion, and the freedom to watch that series at your own pace – whether that’s to appreciate the drama of Bloodline or power through Orange is the New Black.”

    The Netflix Binge Scale based on global viewing data by the platform 

    SAVOR

    Irreverent Comedies

    Political Dramas

    Superhero Dramas

    Crime Dramas

    Historical Dramas

    ·         Arrested Development

    ·         BoJack Horseman

    ·         Club de Cuervos

    ·         F is for Family

    ·         Love

    ·         Summer Heights High

    ·         Unbreakable Kimmy Schmidt

    ·         Wet Hot American Summer

    ·         House of Cards

    ·         Homeland

    ·         Occupied

    ·         The Good Wife

    ·         The West Wing

    ·         Marvel’s Daredevil

    ·         Gotham

    ·         Marvel’s Jessica Jones

    ·         The Flash

    ·         Better Call Saul

    ·         Bloodline

    ·         Fargo

    ·         The Blacklist

    ·         The Bridge

    ·         Twin Peaks

    ·         Mad Men

    ·         Narcos

    ·         Peaky Blinder

    ·         The Americans

    DEVOUR

    Dramatic Comedies

    Sci-Fi

    Action & Adventure

    Horror

    Thrillers

    ·         Orange is the New Black

    ·         Flaked

    ·         Grace & Frankie

    ·         Weeds

    ·         Sense8

    ·         Between

    ·         Under the Dome

    ·         The 100

    ·         Ascension

    ·         Heroes

    ·         Orphan Black

    ·         The 100

    ·         The 4400

    ·         Marco Polo

    ·         Arrow

    ·         24

    ·         La Reina del Sur

    ·         Marco Polo

    ·         Outlander

    ·         Prison Break

    ·         The Last Kingdom

    ·         Turn

    ·         Vikings

    ·         Scream

    ·         Penny Dreadful

    ·         American Horror Story

    ·         Hemlock Grove

    ·         The Walking Dead

    ·         Z Nation

    ·         Dexter

    ·         Bates Motel

    ·         Breaking Bad

    ·         The Fall

    ·         Sons of Anarchy

    ·         The Fall

    ·         The Following

    ·         The Killing

     

  • Netflix’s binge scale reveals TV series to devour and savor upon

    Netflix’s binge scale reveals TV series to devour and savor upon

    MUMBAI: Netflix members around the world are making their own rules when it comes to watching TV. Instead of one episode per week, Netflix members choose to binge watch their way through a series. Though binge watching is clearly the new normal, not all series are enjoyed the same way. Netflix has unveiled The Binge Scale, revealing which shows they devour and which they savor.

    Netflix examined global viewing of more than 100 serialized TV series across more than 190 countries and found when members are focused on finishing a series, they watch a little over two hours a day to complete a season. When organizing series in relation to this benchmark, interesting patterns emerge, ranging from high energy narratives that are devoured to thought-provoking dramas that are savored.

    Series like Sense8, Orphan Black and The 100 grab you, assault your senses, and as The Binge Scale shows, make it hard to pull away. The classic elements of horror and thrillers go straight for the gut, pushing the placement of series like The Walking Dead, American Horror Storyand The Fall towards the devour end of the scale. Likewise, comedies with a dramatic bent, like Orange is the New Black, Nurse Jackie andGrace and Frankie, seem to tickle our fancy and make it easy to say ‘just one more.’

    It’s no surprise that complex narratives, like that of House of Cards and Bloodline, are indulged at an unhurried pace. Nor that viewers take care to appreciate the details of dramas set in bygone eras, like Peaky Blinders and Mad Men. Maybe less obvious are irreverent comedies like BoJack Horseman, Love and Unbreakable Kimmy Schmidt. But the societal commentary that powers their densely layered comedy paired with characters that are as flawed as they are entertaining allow them to be savored.

    “As The Binge Scale indicates, the viewing experience of a series can range from the emotional to the thought-provoking,” said Netflix VP of original content Cindy Holland. “Netflix helps you to find a series to binge no matter your mood or occasion, and the freedom to watch that series at your own pace – whether that’s to appreciate the drama of Bloodline or power through Orange is the New Black.”

    The Netflix Binge Scale based on global viewing data by the platform 

    SAVOR

    Irreverent Comedies

    Political Dramas

    Superhero Dramas

    Crime Dramas

    Historical Dramas

    ·         Arrested Development

    ·         BoJack Horseman

    ·         Club de Cuervos

    ·         F is for Family

    ·         Love

    ·         Summer Heights High

    ·         Unbreakable Kimmy Schmidt

    ·         Wet Hot American Summer

    ·         House of Cards

    ·         Homeland

    ·         Occupied

    ·         The Good Wife

    ·         The West Wing

    ·         Marvel’s Daredevil

    ·         Gotham

    ·         Marvel’s Jessica Jones

    ·         The Flash

    ·         Better Call Saul

    ·         Bloodline

    ·         Fargo

    ·         The Blacklist

    ·         The Bridge

    ·         Twin Peaks

    ·         Mad Men

    ·         Narcos

    ·         Peaky Blinder

    ·         The Americans

    DEVOUR

    Dramatic Comedies

    Sci-Fi

    Action & Adventure

    Horror

    Thrillers

    ·         Orange is the New Black

    ·         Flaked

    ·         Grace & Frankie

    ·         Weeds

    ·         Sense8

    ·         Between

    ·         Under the Dome

    ·         The 100

    ·         Ascension

    ·         Heroes

    ·         Orphan Black

    ·         The 100

    ·         The 4400

    ·         Marco Polo

    ·         Arrow

    ·         24

    ·         La Reina del Sur

    ·         Marco Polo

    ·         Outlander

    ·         Prison Break

    ·         The Last Kingdom

    ·         Turn

    ·         Vikings

    ·         Scream

    ·         Penny Dreadful

    ·         American Horror Story

    ·         Hemlock Grove

    ·         The Walking Dead

    ·         Z Nation

    ·         Dexter

    ·         Bates Motel

    ·         Breaking Bad

    ·         The Fall

    ·         Sons of Anarchy

    ·         The Fall

    ·         The Following

    ·         The Killing