As Broadcasting Grows, Standard Shows Dominate Views, Data Shows

The 2010s marked a new era for the broadcasting industry. Combining the art of liberation with new unbridled enthusiasm has left those in the media bubble squealing like first-time parents. That would make the 2019-2022 broadcasting boom its college years of exploration. All that youthful optimism led to unprecedented growth. But since then, broadcasting has automatically entered the “real world.” The industry is now a young adult entrenched in a rigid nine-to-five schedule. Growth is no longer driven by splashy hype. Instead, it is the honesty of the practice that wins the day. And the data seems to support that.

Nielsen recently released its own Top streaming apps of the yearwhich means we now have annual leaders from 2020 to 2025. Last year there was a 19 percent increase in total US airtime minutes compared to 2024. But, when the broadcast time is over, the variety of hits does not follow well. Top 10 lists across original streaming series, acquired (licensed) series, and movies are always dominated by the same intellectual properties that make the most appearances.

Complete concerts speak volumes what the audience wants in the broadcast era and which companies are providing it.

Why the same shows keep winning

Just as the New England Patriots and Los Angeles Lakers always seem to be in the playoffs, sitcoms, procedurals and animated children’s fare consistently rank among the top-performing titles year after year. Bluey (1), Grey’s Anatomy (2), NCIS (4), SpongeBob SquarePants (5), The Big Bang Theory (8th) and Criminal Minds (Tenth) was not among the top 10 most streamed games general in 2025, but they’ve made multiple appearances among TV’s “Earned” and “Perfect” lineups over the past half-decade. (No wonder there is Bluey movie in progress). Just one stream of the first series (Stranger Things2nd) managed to make it to the Top 10 overall.

Most of these shows, as well as many of the “Achieved” TV series, contain libraries of hundreds of episodes. (Nielsen’s minute-viewing metric awards the longest-running multi-episode metric). Yes, new action and thrillers are flourishing on the small screen. But audiences drawn to the convenience of laundry show more than just cultural daggers. The hits are coming back grab a large share of attention, while the new hits are on the border of high levels.

If your main character is a cop, a doctor or a cartoon, you might have an edge.

Netflix is ​​a leader in original and new content

Netflix has laid claim to seven of the 10 most-streamed shows in 2025 (although it is in tenth place for both Netflix. again Amazon): Stranger Things (1), Squid game (2), Wednesday (3), Ginny & Georgia (6), The Night Agent (8), Love Is Blind (9th), Gabby’s Dollhouse (tenth). All of those shows made multiple appearances in the annual top 10.

Even in the midst of re-acquaintances, Netflix has been able to successfully launch new hits. The first seasons (and/or one-season limited series) of The tiger king, Squid game, Bridgerton, The maid, Wednesday, Dahmer, Inventing Anna, The Night Agent again You cheated on me Once they’ve all made the original annual broadcast Top 10 list in recent years.

New programs are introduced it was very difficult last yearand all broadcasters struggle with first comedies. But despite the problems, Netflix still had a load of the second most-watched new drama (Place of Residenceagreed to be cancelled), most viewed new comics (Running point again The Four Seasons) and the most watched new unscripted series (Sean Combs: Counting again Million Dollar Secret). (Paramount+’s Landman and the Peacock Love Island USA the only Top 10 original streaming debut this year).

Netflix dominates very little in the list of “Found” and “All”. Its scale often allows it to launch new shows successfully, but sustaining them over the long term is difficult today.

Prestige does not translate to a maximum 10 scale

Premium plans may be my bag, but the rest of the world apparently disagrees.

Nielsen began tracking HBO Max in April 2022. Since then, not a single HBO title has made the top annual “Acquired Series” list. Granted, this is a post-Game of Thrones the world, and creating a “Received” list is away more competitive than others. But still – it’s amazing! The real HBO Max Pitt was the most-watched original broadcast drama of 2025. Viewing an appointment it provides a kind of quality and calls a regular weekly song. But it’s a different model than the endless draw of sitcoms and procedurals. It does not automatically boast the same library value.

Then there is the lack of representation of the Warner Bros. film. Due to the resurgence of children’s films, Nielsen released a separate 2025 “General Audience Movie” list for the first time (Seven out of ten films released between 2024-25). Despite WB’s stellar box office year, the studio’s only films among the Top 10 were the first two. Harry Potter films, which were not exclusive to Peacock. The data shows that fantasy is actually the top genre in all of film and TV when it is made accessible and doesn’t focus on complex myths.

On the other side of the equation, Amazon Prime Video reaches an impressive 54 percent of US households, according to Greenlight Analytics, where I work as Director of Data & Content Strategy. The broadcaster brought the selection breakout shows like Boys, Shortcut, falls, again Red One. But its quiet presence overall suggests that viewers have enjoyed the service but haven’t added it to their regular entertainment schedules.

Children’s entertainment is overwhelming

As a brilliant children’s news commentator Emily Horgan often commentschildren’s entertainment remains insignificant in comparison tangible contributions. “While many think of the streaming wars as the battle of the new dramatic awards show or the star-studded blockbuster, the real SVOD conflict is being fought in the trenches of everyday consumption,” Horgan said. he wrote. “That’s where children’s films really shine.”

Bluey was the top overall title in consecutive years, while Cocomelon was a mainstay on the charts in the early 2020s. Family-friendly movies and legacy IP have proven to be the algorithm-proof gift that keeps on giving.

Disney strictly enforces squatter’s rights on this route. Of the top 70 annual movie slots from 2020-2025 (including Nielsen’s movie list that split twice this year), 34 belong to Disney+. The company is able to produce films similar to—Moana, Zootopia, Frozen I again II again Encanto—in multiple listings as does Universal Dreamworks and Lighting across Peacock and Netflix to a lesser extent.

Consistent box office returns and guaranteed entertainment for broadcast viewers anoints it as the king of all genres today.

Hollywood headlines

It’s important to remember that just because a given title doesn’t appear in the top 10 most streamed games of the year doesn’t mean it’s not successful. There are many hits that can be found beyond this snapshot.

Fame, innovation and event programs are useful brand builders with temporary pop. But regular and consistent reuse seems to produce the best results. Comfort views and long stretches of past hits serve as the foundation and mainstays of the broadcast, respectively, while “new” events struggle for sustainability. In that way, the top categories of broadcast views confirm the transition of the industry to a normal, expected environment. Welcome to the staff.