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Clash of the Titan

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The battle ground is set, the weapons are drawn and the leading Hindi general entertainment channels (GECs) are all set for intense combat and to emerge victorious in the weekend mega prime time war. Come 1 June, Colors is all set to attack with season six of its popular celebrity dance reality show Jhalak Dikhhla Ja (JDJ). Sony on the other hand will be unveiling its long talked about and all new Indian Idol Junior (IIJ). Zee TV on its part is counting down the minutes to unleashing DID Super Moms on its viewers. All three are slated to air during the crucial 9.00 pm – 10.00 pm slot every Saturday and Sunday.

With so many reality shows, which show are the advertisers placing their bets on? Dentsu Media India CEO Divya Gupta answers: “All three have potential. With the new formats, anchors, all have something to offer. It remains to be seen, however, how the initial hype will pan out in terms of quality and content. From an advertiser’s point of view, the program that is able to pull eyeballs early and keep them is the best bet.”

She further says that depending on the number of associates on board currently, and spot buy sales on first episode, the three upcoming shows have anywhere between Rs Five crore to 6.5 crore riding on them this Saturday.

What is it about the weekend prime time slot that has turned GECs into a war zone? Madison Media senior VP head of Pinnacle Mumbai Shekhar Banerjee gives a different perspective. Says he: “Weekend slots over the years have been hosting reality shows across GECs, not that it has better potential and generates higher TVR but because channels don’t want to disturb their already running staple fiction shows. Taking off a weekday fiction for a 13 week reality show means breaking a viewer’s habit and there is high likelihood that the person may not come back to the fiction show after 13 weeks are over.”

For want of a better option or not, the weekend slot has become the hub of reality shows and has ensured cut-throat competition among GECs and an attractive platform for advertisers. “Total inventory based on total number of episodes, not counting repeats, would be in the range of 24,000 to 30,000 seconds totally. The value of a weekend prime slot would depend on product and target prospects. By and large, prime time is coveted by all due to its quick, high reach viewership,” says Gupta.

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Colors’ JDJ’s starry judging tri -Karan, Madhuri and Remo : It’s all about the madness of dance

Colors has placed high hopes on JDJ which had a successful run last season with an average TVR of 3 and will leave no stone unturned to make this season a thrilling rage over a span of 15 weeks. The show has roped in six associate sponsors including Ultratech, Dove, Sony Experia, Ever Ready battery, Amul Macho and Metro Tyres while Cadbury Bournvita returns as title sponsor and Vaseline is the powered by sponsor.

Talking about the show’s USP, Colors marketing head Rajesh Iyer says: “JDJ is a strong property itself and has its niche audience. The format of the show is very different as compared to any other reality show. Here, we have 12 celebrities from different walks of life as contestants and a very strong jury force including Karan, Madhuri and Remo who are masters of their craft.”

What is new about season six which sets it apart from the previous seasons is the level of dancing. This season it’s the ultimate dance off between the contestants as the jury has raised the bar. Contestants will be seen using unconventional props, graphics and animation for showing the audiences what they have never seen before.

Banerjee, who has placed his bets on JDJ for Madison Media’s client Cadbury, says: “When we buy a reality show the key criteria is fitment and the show’s potential to deliver on brand’s key performer indicators (KPIs). JDJ has been one of the best performing talent shows on Indian television, and even this year we are working with the Colors team to create bigger and better integration that can deliver the desired return on investment (ROI) on the brand scores of Cadbury Bournvita.”

Colors’ Rajesh Iyer is going into hyperdrive marketing Jhalak Dikhhla Ja

The battle for primetime is not going to take place on screens. The three players are pulling out all the stops on the marketing front to connect with their audiences through every medium. 
The channel has launched an aggressive 360 degree marketing campaign to place JDJ at the top of the game. Iyer says: “Our extensive marketing plan includes home channel promotion with over 2,000 spots and network and cross channel promotion with 40 channels wherein we have bought over 5,000 spots across genres – English news, Hindi news, regional, infotainment, music, Hindi entertainment, Hindi movies and kids.”

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Apart from TV, Colors has also planned a 10-day campaign with 1,500 plus radio spots across its Hindi speaking markets. Print is also not left unexplored with over 100 ads to be placed across 100 plus cities across the country. In the out of home (OOH) space, the channel has planned a 10 day activity and targeted over 500 sites in the Hindi speaking markets.

 

 

 

 

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Sony, on the other hand, is all geared up to strike a chord with family viewers through Indian Idol Junior (IIJ), which will be running for 14 weeks. Title sponsor being Nissan Micra and powered by Horlicks, this new kids singing reality show has Real Fruit, 99acres.com, Kellog’s Oats and Alpenliebe as other associate sponsors. According to the channel, over 6,000 promos spots have been played for IIJ.

“IIJ has one thing going for it,” says a media observer. “It is commencing at 8:30 pm, half an hour before the rest. This could well work in its favour in terms of it getting viewers tuning into it Whether it will manage to make them sticky will depend on the show’s content.”

Indian Idol Junior judges Shekhar, Shreya & Vishal will be innovating while dealing with kids on the show

That is a legacy story, says Sony Entertainment Television (SET) marketing head Gaurav Seth. But what sets IIJ apart from the rest is its brand positioning, he adds. He further elaborates: “It is a brand extension of the very popular Indian Idol format on SET. We believe children have a lot of potential and talent on offer and hence, we wanted to explore this segment and showcase it to pan Indian audiences. We conducted a massive nationwide hunt to search for these kids through our eminent judges and we believe our viewers are going to be stunned with the talent on display through the rounds. Kids have a lot to offer in terms of their innocent, spontaneous and completely endearing actions which makes for compelling television viewing.”

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Sony’s Seth has marketing for Indian Idol Junior covered from all angles

Launching an extensive campaign revolving around kids, Sony is comprehensively promoting the newest branch of its much loved franchise. Seth explains: “We have executed a huge national communication roll-out to inform TV viewers across India about the show and what to expect. This has been across all major media platforms and has succeeded in building immense recall for the show prior to launch. As it progresses, we believe that the talent on display will continue to attract loyal viewers interested in following the fortunes of their favourite contestants.”

Sony plans to sustain viewer interest through city concerts, activation and celebrity episodes designed to keep highlighting the high-points in the show throughout the current season. Says Seth: “It has been one of the most popular talent shows on television and we hope to keep the success of its past editions alive with this new and fresher avatar. Indian Idol is a profit maker and the latest offering has received a favorable response from our advertising partners.”

Zee TV is counting on its all new concept of DID Super Moms derived from one of its most successful properties – Dance India Dance (DID) to do the trick for it. For the first time, mothers, who always have been seen supporting their children in DID, take center-stage in this unique dance reality show focused on moms.

DID Super Moms team are looking at replicating DID’s success

Zeel marketing head Akash Chawla asserts: “With DID Super Moms we wanted to capture the emotions of the audiences where a mother is a very important part of our lives and she always played a crucial role in our success. Our communication revolved around the fact that now it’s time for mothers to be in the spot light and we should cheer them and support them helps them to fulfill her dreams.”

Coming back to JDJ, one of the innovative strategies launched by Colors exclusively for the show is a promotional tie-up with YRF’s upcoming Ranbir Kapoor- Deppika Padukone starrer Yeh Jawani Hai Deewani. “We will be running JDJ promos during YJHD. We have targeted 900+ screens in over 40 cities. While in terms of amplifying the campaign with the help of cable TV, we have planned a 10 Day activity in 130 cities and have bought over 1,000 spots,” adds Rajesh Iyer.

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Movie promotions are what IIJ will be banking on too to rope in celebrities and also heighten viewer engagement. Seth reveals: “There will be movie integrations at a later stage once gala rounds begin. We will also form strategic tie-ups with news channels to promote content and/or activation and concerts.”

Season six of JDJ is being lauded for its aesthetically beautiful promos directed by Colors’ in-house team led by Monica Nair. JDJ is being heavily promoted on the channel with promos not only seen during the ad breaks but within shows as well. “In order to increase the recall value of the viewers, we’re trying this different mode of in-show promotion wherein we show a JDJ promo even before the advertisement break – between the show and the coming – up of the next segment,” asserts Iyer.

Creatives

  • Colors- Marching Ants
  • Sony- Leo Burnett
  • Zee TV- Draft FCB Ulka

Sony’s IIJ also has commendable creatives designed by Leo Burnett, with a strong positioning- Gaanon ka wohi jaadu ab bachchon ki awaaz mein. The promos, directed by the creative team at SET along with Fremantle Media, depicting young kids singing old classics have become quite popular. It has been an immensely clutter breaking campaign on all media especially TV with the spots getting high salience and recall,” says Seth.

 

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JDJ has targeted the space of ambient marketing as well, with over 500 hoardings across 12 cities. The creatives – both outdoor and print, are spearheaded by creative agency Marching Ants. Iyer says: “Last year we focused on the symbolic shining disco ball as a promotable. The idea this year was to take JDJ outside the environment of the studio to outdoors build scale. You will see that both in our launch promos as well as creatives.”

Ambient Marketing:

  • Colors-500 horadings across 12 cities
  • Sony- 4000 horadings across 24 towns

However, in terms of ambient marketing, Sony is way ahead as it claims to have stationed over 4,000 outdoor advertising units across 24 towns promoting IIJ.

Seth elaborates: “We have targeted our viewers across their daily touch points from whenever they step out of their houses to when they return. This includes innovative branding and presence on major roads and arteries across 24 key towns of India through large and small format billboards. In addition, we have taken branding inside and outside major transport hubs and vehicles such as trains and buses both intercity and intra-city. We have also targeted malls and shopping centers and even cinemas to ensure all touch points are covered extensively.”

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Sony also has several out-of-box promotional campaigns planned for IIJ. “We will be carrying out an activation titled “Society Idol Junior” across 12 cities in which we will be conducting mini auditions and talent performances judged by local celebrities in various residential societies and colonies. We will then be crowning individual winners from this age group from each of these. In addition we will also be having mega Idol city concerts featuring our final contestants and of course our talented judges,” informs Seth.

On the online, digital and mobile front, Colors has created a dedicated microsite, web chat and dance tutorials wherein it has tied-up with dancewithmadhuri.com, which is Madhuri Dixit’s online dance academy. There are also plans to create a mobile application for the show.

“This year we are taking the brand JDJ and our promise to make non-dancer’s dancers to the next level by giving them a taste of true dance with Dance Tutorials & Dance with Madhuri contest,” says Iyer.

He adds: “Throughout the season every day, we will release one dance tutorial for our viewers. This will be from different dance forms for example seven steps salsa in a week etc. These videos will be released every week on our website, JDJ app and Colors Facebook page for viewers to easily access while on the go. To make this more even more exciting we have tied up with dancewithmadhuri.com. Viewers can now learn practice and upload their videos. Madhuri Dixit will herself select one lucky winner who will get a chance to dance with the Diva herself.”

Apart from all of the above, Colors has a lot in store for online viewers before the grand premiere- a Live Chat with Madhuri, the video of which will be uploaded on the channel’s official website. A web premiere is also on the lines, wherein 20 minutes of the grand premiere will be uploaded on the channel’s official YouTube channel at 3.00 pm on Saturday. All in all, the online buzz around #Jhalak (the official hash-tag) will be kept alive through live chats, web premiere, contests and the works!

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Sony has also launched several web/digital initiatives for its debutante property. Myindianidoljunior.com is the official website for all news, views and happenings from the show. Seth says: “Exclusive content regarding the contestants, engaging apps etc will only be available there. In addition we launched the IIJ audition app which allowed smartphone users to enter the selection process by auditioning through their mobile device. There are lots of other interesting features on our social media pages and handles as well.”

Social Media

  • Colors– dancewithmadhuri.com
  • Sony-Myindianidoljunior.com
  • Zee TV: DID Super Moms’mobile App

Zee TV has also launched several interesting social media initiatives for promoting DID Super Moms. Chawla states: “For Zee, the consumer has always been at the centre of business decisions. The channel has pioneered many digital and mobile initiatives with the intention of interacting with the consumers at every touch point. Committed to presenting out of the box ideas to market its shows, this time around some innovative features have been added in the DID Super Moms mobile app”.

To amplify viewer engagement, a new feature called Tap on has been introduced. Here a user can hold the phone to capture the songs played during ‘DID Super Moms.’ Every time he does that, some exclusive content that is high on engagement would unlock on his phone giving him additional interesting information about the show. This content can be an exclusive live tutorial, images or some trivia from the show.

Another feature is a chat room called Check In where everybody watching the show can check in and shares their viewpoints with each other. With the pattern of content consumption becoming more dynamic, the features introduced in the mobile app will keep the viewer engaged throughout the show via his/her mobile phone. This is a more personal way of interaction, engagement and entertainment.

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Talking about a recent online promotional activity, Chawla says: “The Masters of Zee TV’s DID Super Moms, Farah Khan and Marzi Pestonji along with skippers, Raghav, Prince, Jai and Siddhesh kicked off a virtual conversation on Google Hangout with 10 of their lucky fans on 24 May! These lucky winners were selected via a twitter contest where the ‘netizens’ were asked to use #dancingtome and write what dancing meant to them. In this online event, the masters and skippers not only shared interesting trivia’s and anecdotes but also showcased their signature moves to their admirers. For those who didn’t get a spot in the lucky 10, watched the hangout LIVE on Zee TV’s YouTube page.”

 

what more?! DID Supermoms is going to have an impact on the digital space with a roadblock of two major portals in India – youtube.com and yahoo.com (YouTube mast head and Yahoo super take over). Its micro site has various engagement platforms for ‘netizens’ where all the super moms can upload their dancing video on the DID title track. A video wall with all these entries would be published during the sustenance of the show.

Sony has had a successful integration with its network channel’s popular IPL show called Extraaa Innings T20 on Max. Besides, there is a countdown bug on the channel and a very high ratio of promo slots devoted to IIJ launch.

The smartest move by Colors is that of the show’s Grand Premiere which is aimed at garnering maximum eye balls. The launch episode will be as big as the show itself.

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Kick starting the show will be dancing queen Madhuri who will team up with Ranbir for a stunning performance on their new item number- Ghaghra. Next to enthrall viewers will be an entertaining performance by Sushant Singh Rajput and actress Jacqueline Fernandez who will be introducing the 12 celebrity contestants.

The launch episode week will also see the three Deols – Sunny, Bobby and Dharmendra shake a leg with the Jhalak contestants adding on to the commencement of the power packed journey of Jhalak Dikhhla Jaa.

To further heat up the competition, Star Plus is upping the ante on its dance reality show India’s Dancing Superstar (IDS) which has been on air since 27 April at 9.00 pm. It has planned a special maha episode. Explains Star India vice-president marketing Nikhil Madhok: “For 1 June, IDS will have a two and a half hour dance ka maha episode which will start at 8 pm. The episode has one of the legends of dance, Govinda, doing something he has never done before on Indian television. Viewers will see him play a double role in an extremely entertaining dance act. The episode will also see the beginning of the face-off round, which is a very unique concept for a dance show in India.”

Star marketing head! Nikhil Madhok

Sounds great, but what is the media view of all these intense content creation and marketing initiatives that the GECs have drawn up?

Madison’s Banerjee proffers a perspective. Says he: “Such overcrowding of reality shows on weekends will lead to cannibalisation both in terms of viewership and also revenues. Channels need to understand that with such high investment they should look for a clean window or time-bands that assures them of the best return.”

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He further points outs: “These shows can coexist with smarter planning. Next season, even advertisers will get wary of investing if average ratings of these shows come down.”

Now that’s a piece of advice, none of the GEC players should ignore!

 

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Sony Pictures brings families back to TV with Wheel of Fortune

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MUMBAI: In an age of endless scrolling and solitary screens, Sony Pictures Networks India (Spni) is betting on togetherness. The broadcaster is reimagining game shows and reality TV to turn them into family-friendly events that pull viewers off their devices and back into the living room.

Spni is leaning into participation-led formats where audiences can play, predict, learn, and even aspire. Shows like the newly adapted Wheel of Fortune, hosted by Akshay Kumar, invite viewers to join in, creating shared excitement across generations. Meanwhile, Kaun Banega Crorepati celebrated 25 years this year, proving that interactivity and emotional storytelling remain powerful hooks, especially with its Play Along feature connecting urban and smaller-town audiences alike.

Spni head of linear distribution Makarand Palekar said, “The future of linear television lies in creating moments families want to experience together. When shows evolve while keeping their emotional heart intact, they appeal across generations. Interactivity, cultural relevance, and momentum are key to drawing younger viewers while staying true to family favourites.”

By blending emotion with engagement, Spni aims to prove that linear TV still matters, offering shared moments that streaming alone cannot replicate.

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MTV Splitsvilla X6 is back with big drama and bigger brands

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MUMBAI: MTV Splitsvilla is back in business and Season X6 is playing for keeps. The long-running youth reality favourite returns with a sharper format, louder emotions and a formidable line-up of six sponsors, underlining the show’s continued grip on young India.

Instax by Fujifilm steps in as presenting sponsor, while Sofy, Newme Asia, Envy and Philips join as co-powered by sponsors. Matrix rounds out the roster as a special partner. The show streams on JioHotstar and airs on MTV India.

This season, titled MTV Splitsvilla X6: Pyaar ya Paisa, leans into a question as old as romance itself. Do you follow your heart or cut the smarter deal? With 32 contestants navigating alliances, attraction and ambition, the game raises the stakes by forcing choices between emotional connection and financial advantage. The result is a faster, fiercer version of Splitsvilla where feelings and strategy collide at every turn.

JioStar head of entertainment sales Mahesh Shetty said, the show’s staying power lies in reinvention. According to him, Season 16 sharpens both emotional and strategic gameplay while keeping brand integrations organic and engaging rather than intrusive.

For Instax by Fujifilm, the partnership feels like a natural match. Fujifilm India associate director Arun Babu said, Splitsvilla captures raw emotion and spontaneous moments, values that align closely with the brand’s focus on preserving real memories.

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Returning partner Newme Asia also sees continuity as a win. CEO and co-founder Sumit Jasoria notes that the collaboration’s second year promises fresh ideas at the intersection of content and commerce.

Sofy’s assistant general manager Ai Mizushima highlights the show’s ability to open honest conversations with Gen Z, particularly around confidence and hygiene, while Envy’s managing director and CEO Saurabh Gupta points to Splitsvilla as a cultural space where identity, attraction and first impressions matter.

Philips views the association as a natural extension of modern dating culture. Senior general manager for male grooming and skin care Sakshi Jha said, confidence should be effortless and grooming should not add to the drama. Matrix, part of L’Oréal India, echoes the sentiment, with general manager Amrita Sundar calling the show a powerful platform for self-expression through style.

On screen, the familiar faces return. Sunny Leone hosts her tenth season, joined by Karan Kundrra, while Nia Sharma and Uorfi Javed stir the pot as mischief makers, entering the game to unsettle equations and test loyalties.

Premiered on January 9, 2026, the show airs every Friday, Saturday and Sunday at 7 pm on MTV India, with streaming available on JioHotstar. With a refreshed format and strong brand backing, MTV Splitsvilla X6 looks set to reclaim its place at the centre of youth pop culture conversations.

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Luminate research reveals TV show production in 2025 shrank by a third since 2022 peak

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MUMBAI: The American television industry’s production decline accelerated in 2025, with the total number of original series falling for the third consecutive year, according to research agency Luminate’s year-end report released last week.

The data firm found that 1,122 shows premiered across networks and streaming services in 2025, an 11 per cent drop from the 1,266 premieres in 2024. Since hitting a peak of 1,695 shows in 2022, the television landscape—excluding live sports and news programming—has contracted by a third.

The declines cut across all platforms. Streaming shows, including both subscription video-on-demand services and free platforms, fell 11 per cent from 653 in 2024 to 584 last year. CableTV  slipped nearly eight per cent from 417 shows to 384. Broadcast networks experienced the steepest percentage drop at 21 per cent, from 196 shows in 2024 to 154 in 2025—though Luminate noted this figure matches 2023 levels.

The report attributed some of 2024’s inflated numbers to the dual labour strikes of 2023, which “pushed a number of shows that would have premiered in the autumn of that year into 2024,” Luminate said.

Among major subscription streamers, HBO Max suffered the most dramatic contraction, halving its original programming from 32 shows to 16. Only two platforms bucked the downward trend: Prime Video, which increased output from 42 to 59 shows, and Disney+, which grew from 10 to 14 programmes.

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Apple TV+ held steady at 37 originals. Netflix, whilst remaining the industry leader, debuted 133 shows in 2025, down eight from the previous year. Hulu declined by three shows (from 48 to 45), Paramount+ by 10 (from 36 to 26), and Peacock by seven (from 38 to 31). Free streaming services premiered just 13 series in 2025 versus 18 in 2024.

International productions provided some relief but also retreated. Of nine countries—Germany, Argentina, Mexico, Japan, Spain, France, India, Britain and South Korea—that Luminate identified as supplying multiple shows to American streamers, only Argentina increased output year-on-year. South Korea led with over 40 shows for American subscription platforms, yet even this figure declined from 2024.

Overall television production remained depressed in 2024, falling seven  per cent from 2023, “as the entertainment industry continues to find its footing after a couple of rough years,” according to Luminate’s analysis, which measures television viewership in America.

The report validated “the contraction in production following the dual WGA and Sag-Aftra strikes, which has impacted every area of film and television,” whilst also examining which genres and platforms suffered most.

Broadcast television proved “surprisingly resilient,” Luminate noted, recovering from the work stoppages faster than streaming and cable with a 25 per cent year-on-year increase. This likely reflected networks’ efforts to return broadcast episodes to air by early 2024.

Cable television, by contrast, has “suffered the most”, Luminate said. Original series on cable TV plummeted 15 per cent from 2023 to reach a new low, which Luminate attributed to the “cratered” audience for cable series as streaming has displaced the format.

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Streaming production in America “is still down significantly from pre-strike levels”, the report stated. Netflix alone produced 22 per cent fewer American-based series in 2024 than in 2022, though it “remains far ahead of its competitors in that arena”. Prime Video emerged as “the only streamer that hasn’t reduced U.S.-based production output in the last two years.”

The contraction extends beyond series counts to total programming volume. According to Luminate, “the drop in total episodes and total hours of programming between 2023 and 2024 has escalated from 17 per cent to 20 per cent”. For drama series alone, orders declined from nearly 3,400 episodes in 2019 to just 2,492 in 2024.

“Drama appears to be the least impacted genre, with comedy, animated and unscripted all suffering greatly in the last year”, Luminate found. Between 2022 and 2024, total unscripted episodes produced fell 33 per cent, whilst over five years the total number of comedy episodes produced declined 47 per cent.

“It’s not just less series being produced but also less episodes overall of TV that is contributing to this ongoing contraction, even as long-running series continue to prove most valuable”, according to the report.

Netflix claimed seven of 2024’s top 10 most-watched series, led by ,Fool Me Once which accumulated 12 billion minutes watched. Taylor Sheridan’s programmes also performed strongly, with Landman and Tulsa King both ranking in the top five.

Landman‘s performance proved particularly notable given its mid-November premiere. “In just about six weeks, it managed nearly 10 billion minutes viewed, illustrating just how popular that particular series was,” Luminate observed. Fallout rounded out the top 10 with nearly eight billion minutes viewed.

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Luminate noted that “streaming franchises—including Marvel, Star Wars and Rings of Power—all underperformed last year”. The second season of Prime Video’s Lord of the Rings series “was down 60 per cent in total minutes watched compared to Season 1.”

Disney+ “didn’t fare much better with offerings like Echo and Agatha All Along, which underperformed previous Marvel streaming series”, the report found.

Yet these intellectual properties remained Disney+’s best performers. Percy Jackson and the Olympians “was top dog on Disney+ last year with over  three billion  minutes viewed”, and The Acolyte “came in second place with 2.7 billion.”

Love Island “emerged as the first unscripted and non-Netflix streaming original to top the yearly rankings”, Luminate reported. “For the first time, the most-watched streaming original TV season of the year did not come from Netflix.”

Universal’s Wicked “dominated U.S. streaming as a major draw for Peacock and Prime Video throughout 2025, building on its success at the box office and on PVOD”, according to the report.

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Whilst “licensed theatrical titles, rather than SVOD originals, typically rule the streaming film charts—as historical data from 2023-24 shows—Netflix original films showed a new strength in 2025,” Luminate noted. “The major standout, of course, was the surprise smash KPop Demon Hunters, which became the service’s most-watched film release ever.”

The film’s soundtrack “proved highly popular in both the domestic and global markets”, the report found. “Once the film took off, daily on-demand audio streams for the soundtrack album did not dip below 10 million in the U.S. until late November, and the record was racking up four times that internationally at its peak.”

“This type of multimedia success is what all studios aspire to nowadays, and it would not be surprising to see Demon Hunters spawn a wave of imitators and perhaps launch a renaissance for the tie-in movie soundtrack”, Luminate suggested.

Overall, “original streaming film releases have contracted considerably as the legacy studios reinvested in theatrical titles,” the report stated. Netflix also reduced its film slate by almost 20 per cent year-on-year in 2025. “The service’s long-discussed shift toward quality over quantity for film has begun to manifest, it seems, which paid off with Netflix’s best showing among the most-watched films in several years.”

Wide theatrical film releases “ticked upward in 2025 vs. 2024 and have rebounded from their Covid-depressed levels earlier in the decade,” Luminate observed, though “major studio output remains far depressed from its mid-2000s peak.”

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“This has perpetuated a vicious circle in which a shortage of available movies in theaters is blamed for reduced theatrical attendance, and vice versa, as box office revenue has struggled to reach pre-pandemic heights”, the report noted.

Of 2025’s theatrical successes, Jurassic World Rebirth “saw the biggest opening week on streaming, with more than 1 billion minutes watched, an impressive feat given Peacock’s relatively slim U.S. subscriber base (41 million). Meanwhile, Warner Bros’ R-rated horror films Sinners and Weapons “saw some of the best debut weeks on streaming for 2025.”

Sinners “drew more engagement in its first week on HBO Max than the latest Captain America did on Disney+,” the report found, demonstrating that “the kind of word-of-mouth success observed in theaters can translate to streaming as well, making HBO Max a popular platform for adult audiences”.

About a quarter of American consumers identify as “casual” movie fans, “rating their interest in watching movies as one to three  on a scale of one to five,” Luminate reported. When asked what would entice them to cinemas, “more than any other genre, comedy could be the ticket”, though “it’s also possible that this audience is simply not as well served by current studio slates.”

“In a positive signal for theater chains, avid and die-hard movie fans skew slightly younger relative to casual fans,” the report found. Millennials account “for more than a fourth of avid and die-hard fans, versus just 18 per cent of casual fans,” whilst boomers “make up only 19 per cent of the die-hard contingent.” The data also showed “healthy representation from Gen Z in the avid and die-hard categories, a striking contrast to the conventional wisdom that the cohort doesn’t care about movies.”
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“The biggest determining factor in enticing a more casual movie fan to get out to theaters is simply having a good story, followed by the genre and positive word of mouth,” Luminate concluded. However, 21 per cent reported “none of the listed options would bring them to see a movie in theater.”

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The report also examined consumer attitudes towards generative artificial intelligence in content creation. “The biggest segment (39 per cent) of consumers aware of generative AI say they’d be less interested in watching a movie or TV show if they knew it was written with gen AI,” Luminate found.

Yet “a majority are either more interested (25 per cent) or ambivalent (36 per cent)”. Notably, “as avid movie and TV fanship increases, fans are actually more likely to express interest in an AI-written movie or show and less likely to be ambivalent, perhaps driven by curiosity about the tech’s applicability.”

When asked about various AI applications in production, “consumers consistently tended toward discomfort over comfort, though there were significant pockets of indifference,” the report stated. “The most discomfort tended to register with scenarios that involved digital replication or replacement of actors.”

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