According to a new report by the European Audiovisual Observatory, TV and SVOD series command the majority of viewing time on SVOD platforms, capturing 78% compared to 22% for films. “SVOD Usage in the European Union – 2024 data” offers an in-depth analysis of how audiences allocate their time on SVOD services, encompassing both films and TV seasons. It breaks down viewing time by content origin, genre, and (for films only) release year.
European Audiovisual Observatory’s findings draw on SVOD viewing data from Digital i’s VOD-Ratings, covering the four major platforms, Netflix, Prime Video, Disney+, and HBO Max, across nine EU countries: Denmark, Finland, France, Germany, Italy, the Netherlands, Poland, Spain, and Sweden. European Audiovisual Observatory’s analysis includes data from January 2024 to September 2024, combining VOD usage data from Digital i with catalogue data from JustWatch.
SVOD Usage in the European Union in 2024: Key Findings by the European Audiovisual Observatory
- The vast majority watch live-action fiction series: SVOD audiences overwhelmingly watch TV and SVOD series, which make up 78% of total viewing time, compared to 22% for films. Live-action content dominates viewing (88%), while documentaries and animation make up only 12%.
- Viewing is concentrated on specific titles: Despite the existence of large catalogues, a tiny number of titles (under 0.1%) account for almost 14% of all viewing. The high concentration of viewing is seen in both films and series.
- European content usage: Works from wider Europe represent 25% of SVOD viewing, with EU content making up 16%. EU films make up 22% of film viewing, compared to only 14% for EU series, according to the European Audiovisual Observatory.
- National vs. non-national EU content: In 2024, EU national content comprised a slightly higher share (55%) of EU viewing than EU non-national content, despite having a smaller presence in catalogues.
- Mismatch between SVOD usage and SVOD catalogues: Except for Poland and Spain, EU content (particularly non-national EU content) is watched less than its share of the catalogues would suggest.
