That figure puts it in on par with “American Dad!,” a still-airing animated sitcom with a steady pipeline of new episodes.  Another point of comparison is creator Mike Judge’s earlier animated comedy, “Beavis and Butt-Head,” which along with its reboot has delivered just over $50M in streaming revenue for Paramount+ since 2020.

For Hulu, the numbers help explain why the streamer invested in a “King of the Hill” revival, which brings Arlen, Texas, into the modern world. With streaming platforms increasingly focused on proven IP to drive engagement and retention, reviving a series with a decade-plus track record of generating consistent value is a low-risk, high-reward strategy.

This isn’t Hulu’s first rodeo when it comes to reviving a beloved animated series. In 2023, the streamer brought “Futurama” back after a 10-year hiatus. Since returning, the series has transformed from a moderate performer to one of Hulu’s top animated revenue drivers.

The show’s total revenue contribution to Hulu is now approaching $120 million, with much of that growth coming post-revival. The upcoming third season since its return is set to premiere next month, giving Hulu another opportunity to market around a familiar brand and deepen engagement with both nostalgic viewers and new audiences.

However, there are also cautionary lessons to be learned from “Futurama”s revival.  The show witnessed a huge spike in global demand for its first revived season, peaking at over 60 times the demand for the average show. This initial spike in demand for the show tapered off consistently throughout the course of the first rebooted season. Demand for the second season on Hulu in 2024 has been significantly more subdued.

This pattern reflects a “pent-up demand” effect. Fans who have been waiting years for new episodes rush to watch the initial return, generating a large spike in interest. Sustaining that level of demand into subsequent seasons can be challenging, as the novelty factor fades and the show must compete with a crowded release calendar.

For Hulu’s “King of the Hill” revival, this dynamic has strategic implications. The streamer’s marketing push should be heavily front-loaded, aiming to convert that initial wave of nostalgic viewers into sustained engagement. Hulu appears to be embracing this strategy with its all-at-once episode drop on Aug. 4 instead of rationing episodes weekly.

Animated comedies like “King of the Hill” and “Futurama” have unique staying power in streaming because they’re endlessly rewatchable and easy to dip into mid-series. Hulu, in particular, has built a reputation as a home for fans of adult animated comedies. The lesson for rebooting this IP is clear –  nostalgia sells, but keeping fans engaged after the initial comeback is the real art of the reboot.

The post Why Did Hulu Make a ‘King of the Hill’ Revival? It Generated $100 Million in Streaming Revenue | Charts appeared first on TheWrap.

“Wednesday,” one of Netflix’s all-time biggest hits, returned on Aug. 6. Following nearly three years between seasons, audiences were excited to see Jenna Ortega come back as the titular creepy, kooky, mysterious and spooky Addams family character. With 2.7 million U.S. households watching the first episode in the first five days it was available, it was more than enough to put the show at the top of the streaming chart this week.

It was the 10th consecutive week a Netflix title has held the top spot. It’s also one of seven Netflix entries this week, making it the second-straight week where the streamer has held seven of our Top 10 spots. With the second half of “Wednesday’s” second season coming on Sept. 3, all signs are pointing to Netflix summer extending past Labor Day.

Amid the Netflix grip on the chart, there’s a noticeable difference. Churn was the story for most of the summer, with new Netflix titles rising and falling week after week. Lately, though, Netflix hits have had staying power, and the remaining six titles on the chart are all holdovers from last week.

That list starts with “The Hunting Wives,” which stays at number two in its third week on the chart. “Happy Gilmore 2,” which was our chart topper the past two weeks, falls this week, down to fifth.

Breaking up the Netflix hegemony this week is “The Gilded Age” on HBO Max. The period drama wrapped its third season on Aug. 10, which helped it return to the chart in a big way, shooting all the way to third. 

It’s followed by “The Pickup.” The Prime Video original starring Eddie Murphy drew 1.4 million U.S. households this week.

Next up is “KPop Demon Hunters,” which is redefining the term “staying power” for both Netflix and film-length streaming releases. More than six weeks after it first appeared on streaming, the movie is still on the chart (for its fifth consecutive week), and in sixth place this week.

In seventh is the Netflix sitcom “Leanne,” down a spot from last week. That’s followed by “The Summer I Turned Pretty” on Prime Video.

“My Oxford Year” is the next Netflix entry, down two spots. In tenth is “Untamed,” a Netflix miniseries that spent three weeks in the top three on our most-watched chart. While it falls this week, four straight weeks on the chart is nothing to slouch at.

Changing the dial to linear, “America’s Got Talent” is tops once again. Amid the normal glut of game shows and competitions, we do get a movie breaking through. ABC aired the 1998 remake of “The Parent Trap” on Sunday, Aug. 10. Perhaps aided by Lindsay Lohan fans stoked for the recent release of “Freakier Friday,” we find the film in ninth this week.

Meanwhile, the chart is stocked with old reliables like “Wheel of Fortune” (four spots with second, third, fifth, and sixth), “Celebrity Family Feud” in fourth, “American Ninja Warrior” in seventh, “Who Wants to Be a Millionaire” in eighth, and “America’s Funniest Home Videos” rounding out the list with tenth.

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post ‘Wednesday’ Skyrockets to No. 1 on Streaming Top 10 — Netflix’s 10th Straight Week in the Top Spot | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

For a ninth consecutive week, “Superman” holds the top spot. “The Fantastic Four: First Steps” also remains steady at No. 2 for another week. Following its Season 2 premiere on Aug. 6, the Netflix series “Wednesday” soars three spots to land at No. 3. Amid continued preseason excitement, “NFL Football” inches up one position to No. 4. Rounding out the Top 5, the Netflix original movie “Happy Gilmore 2” slips two spots to No. 5. 

The film sequel “Freakier Friday” continues its ascent, climbing three positions to No. 6 after its theatrical release last weekend. The recently released reboot of “The Naked Gun” makes a strong debut at No. 7. Netflix’s “Stranger Things” takes a four-spot tumble to No. 8, while “Jurassic World Rebirth” slides two positions to No. 9. Finally, the buzzy upcoming horror film “Weapons” makes its first appearance on the chart at No. 10.

Weekly Top 10 (Aug. 2-8)

The post ‘Weapons’ and ‘The Naked Gun’ Debut in the Top 10 Titles Audiences Are Most Excited About | Chart appeared first on TheWrap.

According to demand data from Parrot Analytics, the leader in global media and entertainment analytics, Korean titles were the second-largest driver of global revenue among all non-English-language originals across streaming platforms in the fourth quarter of 2024, trailing only Japanese content. This signals more than just audience appeal, Korean titles are delivering measurable financial returns. As platforms race to capture international markets and Gen Z audiences, Korean IP has proven itself both scalable and lucrative.

Netflix’s $2.5 billion commitment to Korean content over four years is a clear indication that this is a long-term strategic play. But the influence of Korean entertainment extends far beyond licensing and production budgets. It’s now shaping creative decisions across borders. Take “KPop Demon Hunters,” an animated film released by Netflix in June. Though produced in the U.S., the film is steeped in Korean aesthetics and narrative sensibilities. 

It follows a fictional girl group that doubles as a secret team of demon slayers, a clear homage to both K-pop fandom and Korean fantasy storytelling. According to Parrot Analytics, “Demon Hunters” reached the second-highest global demand peak of any streaming original film in 2025 so far. On top of that, its soundtrack surged to No. 2 on the Billboard 200, illustrating the synergistic power of combining music, genre storytelling and youth culture.

This is no coincidence. Parrot’s data reveals that three of the five most in-demand global music artists in the first half of 2025 are Korean, with their fan bases heavily skewed toward Gen Z. Approximately 60% of audience engagement with these artists comes from Gen Z, making Korean IP a natural fit for cross-platform strategies. During its debut week, “Demon Hunters” reached an exceptional level of demand in 20 countries, outperforming the average title more than 32 times. U.S. led in demand while four Asian markets reached the Top 10, with France and Brazil standing out among Non-Asian and Non-English-language countries. 

The industry is witnessing a paradigm shift, Korean entertainment is no longer just exported, it’s emulated, adapted and localized. Whether through co-productions, creative collaborations, or aesthetic inspiration, Korean media has embedded itself in the global creative economy. As Korean content continues to break down linguistic and cultural barriers, it also strengthens South Korea’s soft power, boosts tourism, and increases the country’s cultural awareness. For streamers, studios, and creators, betting on Korean IP is no longer a niche strategy, it could be a blueprint for global relevance.

The post As ‘KPop Demon Hunters’ Explodes on Netflix, Demand for Korean Content Is Surging | Charts appeared first on TheWrap.

What is a surprise is that the streamer holds the top four spots on the chart this week. Making matters more interesting is that all four of those titles have been available for several weeks, and in one case, more than a month. After five straight weeks with five different chart-toppers, this defies the “here today, gone tomorrow” trend we’ve seen with Netflix content. 

Rest assured, there are Netflix debuts on the chart this week – three of them, in fact. That gives Netflix seven total spots on this week’s chart. In other words, total streaming domination. And this week, one of Netflix’s all-time biggest titles, “Wednesday,” returns. Watch out.

First among the quartet of Netflix titles is “Happy Gilmore 2,” which tops the chart for the second-straight week. The Netflix bean counters are surely happy with the returns on their investment in star Adam Sandler’s Happy Madison Productions following the runaway success of this comedy sequel.

“Happy Gilmore 2” is followed by the buzzy “The Hunting Wives,” which moves up one spot from last week. Then we have two titles with staying power. “Untamed” topped the chart two weeks ago, then dropped to second, and now stays in third. Three weeks in the top three is something very few Netflix titles can claim.

For all of “Untamed’s” success, it doesn’t have the staying power of the next entry, “KPop Demon Hunters.” Last week, we looked at how the animated title has seemingly broken all the rules, and this week it rises up the chart again to fourth place, a new chart peak. This comes more than a month after the movie’s June 20 release date, something never accomplished by a Netflix feature film. Who knows when “Demon Hunters’” run will be done, done, done.

We get our first non-Netflix title in fifth place this week. “War of the Worlds” is the latest adaptation of the classic H.G. Wells novel from 1898. However, with a 0% rating on Rotten Tomatoes, this Amazon Prime Video revival is unlikely to cause the mass hysteria that defined Orson Welle’s 1938 radio adaptation.

In sixth place is “Leanne,” the first of those three Netflix debuts this week. The sitcom stars comedian Leanna Morgan as a recent divorcee, defining her new life on her own terms. Coming from “Big Bang Theory” creator Chuck Lorre, the show is dripping with classic TV vibes and punchlines.

“My Oxford Year,” another Netflix debut, is next. The romantic drama follows the joy and heartbreak of an American student as she falls in love during a year at the prestigious British university. Amazon Prime Video’s coming-of-age series, “The Summer I Turned Pretty,” stays on the chart this week. Although the show is down one spot, it maintains a chart presence thanks to a weekly release schedule. 

Our final Netflix entry is ninth this week. “Trainwreck: Storm Area 51” is the latest title in Netflix’s “Trainwreck” documentary series, following a big hit from earlier this summer, “Poop Cruise.” This time, the series looks at the insanity that occurred when an online joke about storming Area 51 in Nevada crossed over into real life, inspiring thousands of people to descend on the area around the heavily guarded Air Force facility. 

Finally, in tenth, the “Sex And The City” spinoff “And Just Like That…” returns to the chart. This week’s appearance was likely aided by the announcement last Friday that the show’s current season would be its last. We’ll see if fans continue to watch as they say their final goodbyes to Carrie Bradshaw.

There are no surprises over on linear this week, as “America’s Got Talent” tops the chart yet again.

Celebrity game shows are proving to be popular this summer, as the celebrity-focused “Who Wants to Be a Millionaire” comes in second again, with “Celebrity Family Feud” in seventh this week.

Familiar friends “Wheel of Fortune” (three spots with third, fourth, and sixth), “American Ninja Warrior” (in fifth), “Jeopardy!” (two spots with eighth and ninth) and “Bachelor in Paradise” (in 1oth) round out the linear chart this week.

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post Netflix Claims 7 of This Week’s Streaming Top 10 Slots | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

For an eighth consecutive week, “Superman” holds the top spot. “The Fantastic Four: First Steps” also remains steady at No. 2 for another week. The Netflix original movie “Happy Gilmore 2” jumps into the top three, rising four spots. Buzz for its final season keeps Netflix’s “Stranger Things” in the top five, though it slips one spot to No. 4. Rounding out the top five, “NFL Football” holds its position at No. 5 amid preseason excitement. 

Anticipation for its season premiere on Aug. 6 pushes the Netflix series “Wednesday” up two spots to No. 6. “Jurassic World Rebirth” slides three spots to No. 7 almost a month out from its theatrical premiere, but just days before its premium digital release. The chart sees three new entries this week, starting with Amazon Prime Video’s TV series “The Summer I Turned Pretty” debuting at No. 8 during its third season run, and the film sequel “Freakier Friday” entering at No. 9 before its release this Friday. Finally, the highly anticipated sequel “Wicked: For Good” makes its first appearance on the list at No. 10, more than three months ahead of its release.

Weekly Top 10 (July 26 – Aug. 1)

The post ‘Wicked: For Good’ Is Already One of the Top 10 Titles Audiences Are Most Excited About, Months Before It Debuts | Chart appeared first on TheWrap.

The latest to take the throne is “Happy Gilmore 2,” the sequel to the classic Adam Sandler golf comedy that comes nearly 30 years after the original.

Netflix has bet big on Sandler, signing several deals that have paid his Happy Madison Productions an estimated half a billion dollars to produce films for the streamer. With 4.7 million households watching “Happy Gilmore 2” over the first weekend it was available — the biggest Netflix movie debut of 2025 so far — that is clearly money well spent. 

As we mentioned above, “Happy Gilmore 2” is the sixth Netflix title to rise to the top spot over the past two months. The chart churn makes it feel as if audiences are saying “thank you, next” to whatever Netflix serves up week to week. “Madea’s Destination Wedding,” which topped the chart two weeks ago, is nowhere to be seen this week. “The Old Guard 2?” Old news.

Yet there is an interesting exception to the rule, lower on the chart; a Netflix title that has stuck around a full month after its release. Even more interesting: it’s never reached the top spot.

We’re referring to “KPop Demon Hunters,” the animated worldwide phenomenon that is seemingly breaking all of the norms of what a Netflix title should do. This is a title that actually fell off the most-watched streaming chart earlier in July, only to return with renewed vigor. According to Netflix itself, it’s the streamer’s first film to reach a new viewing peak in its fifth week of release. The movie holds steady this week in sixth place, but where it goes next is anyone’s guess.

Back to the top half of the chart, where we find last week’s number one, “Untamed,” falling to second. In third place is another Netflix debut, “The Hunting Wives.” The drama series feels like “Big Little Lies” transported to East Texas, where recent arrival Sophie (Brittany Snow) is a fish out of water who gets swept up into the danger and drama surrounding wealthy Margo (Malin Akerman) and her circle.

“The Gilded Age” on HBO Max slides a couple of spots down to fourth this week. It’s the streamer’s current prestige Sunday night series, albeit not earning the number one spot as “The White Lotus” and “The Last of Us” did.

We turn back to Netflix for fifth place, which belongs to “Amy Bradley is Missing.” The true-crime docuseries is down one spot from last week. “The Summer I Turned Pretty,” moving from ninth to seventh this week, is the first of two Prime Video titles on the chart. It’s joined by “Ballard” which fell from fifth to tenth this week.

“Stick,” the golf-centered Owen Wilson series on Apple TV+, returns to the chart this week in eighth, perhaps aided by fellow linksman Happy Gilmore. And in ninth is “Dexter: Resurrection” on Paramount+, down one spot from last week.

Meanwhile, “America’s Got Talent” continues to top the linear chart, staving off a Top 10 full of game shows.

Second is the revived “Who Wants to Be a Millionaire,” which features pairs of celebrities playing together to win the money for a charity. The new season’s first episode featured Matt Damon working with “Jeopardy!” host Ken Jennings. 

If you want more Jennings, “Jeopardy!” owns spots nine and ten this week. If you’re after more celebs, we have “Celebrity Family Feud” in seventh.

“Wheel of Fortune” takes up a whole 40% of the linear chart this week, including the third spot. Finally, “American Ninja Warrior” works its way into the Top 10, in fifth place.

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post ‘Happy Gilmore 2’ Makes Massive Netflix Debut While ‘KPop Demon Hunters’ Breaks All the Streaming Rules | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

For the seventh consecutive week, “Superman” holds the top spot. “The Fantastic Four: First Steps,” now in theaters, remains steady at No. 2. Buzz for the final season of “Stranger Things” moves it up to No. 3, swapping places with “Jurassic World Rebirth,” which slides to No. 4, three weeks past its release. Preseason excitement launches “NFL Football” onto the chart, making a strong return at No. 5.

“Sinners” slips one position to No. 6. The recently released Netflix original film “Happy Gilmore 2” lands at No. 7, in a rare top ten appearance for an SVOD original film. Anticipation for the Aug. 6 return of “Wednesday” keeps the series on the chart, landing this week at No. 8. The live-action “Lilo & Stitch” returns to the list at No. 9, while the recently released “Smurfs” movie joins at No. 10.

Weekly Top 10 (July 19-25)

The post ‘Superman’ Soars as the No. 1 Title Audiences Are Most Excited About for 7th Consecutive Week | Chart appeared first on TheWrap.

We calculate that “The Late Show with Stephen Colbert” generated just under $60 million in streaming subscriber revenue for Paramount+ in the US and Canada from Q1 2021 (when Paramount+ launched) to Q1 2025. That number is significantly lower than what other major late-night franchises delivered for their respective platforms during the same period: “Last Week Tonight with John Oliver” brought in $184 million for HBO Max, and “The Tonight Show Starring Jimmy Fallon” drove $122 million across Hulu and Peacock during the same time.

This gap highlights a key challenge for Paramount+. While “The Late Show” drew a loyal and sizable linear audience, the platform struggled to translate that attention into meaningful streaming revenue. Streaming is just one part of a late-night show’s value equation (advertising, licensing and brand partnerships still matter), but in today’s media landscape, the ability to drive subscription revenue has become a top priority for platforms.

This is not to fault Colbert’s show, which is still hugely popular and not just with linear audiences. In the first half of this year, “The Late Show” was the third most in-demand late-night series in the US, with nearly 36 times the average series demand. This is pretty much on equal footing with demand for other top late-night shows.

This disconnect between audience demand and streaming revenue points to platform-specific monetization limitations. Paramount+ may not have had the scale, marketing efficiency, or content bundling strategies necessary to fully capture the value of “The Late Show’s” fandom. That raises a broader question for the industry: How should legacy media companies evolve their content strategies when even high-demand IP struggles to perform on their own platforms?

Figuring out how to make a traditional format like late night work is a problem mainly facing legacy entertainment companies. Newer players, such as Netflix and Prime Video, haven’t really explored the genre extensively. Still, it is an interesting thought experiment to think about whether a platform with the reach of Netflix or Prime Video could have realized more value from Colbert than Paramount+ was able to.

In an era where every content decision is increasingly judged through a streaming ROI lens, “The Late Show with Stephen Colbert” could be a casualty of misaligned monetization, not declining relevance. The show still has cultural weight and consistent viewer interest, but in the streaming-first future, that’s not always enough.

While many have questioned the relevance of the late-night talk show format today, this data does offer a glimmer of hope. “The Late Show” lagged its peers in terms of its streaming revenue performance on Paramount+. Other titles, such as “Last Week Tonight,” have generated multiple times more revenue than “The Late Show.” Adapting the late-night format to the new streaming-first reality can help the genre survive.

The post Colbert’s ‘Late Show’ Generated $60 Million in Streaming Revenue Since 2021, Less Than Kimmel, Fallon and Meyers | Charts appeared first on TheWrap.

The final round of the Men’s Singles tournament saw Carlos Alcaraz facing off against Jannik Sinner in a rematch of the French Open earlier this year, which Alcaraz won. Alcaraz was the defending Wimbledon champ, having bested Djokovic the past two years, so it was something of an upset when Sinner emerged victorious. The budding rivalry between these two players can serve as a compelling narrative that will draw attention to events like Wimbledon and the sport of tennis in general.

While established tennis champs have historically captured the lion’s share of attention from global tennis fans, the global demand for Alcaraz and Sinner has surged since their recent high-profile matchups. As of July 14, Sinner was the most in-demand athlete in the world, with Alcaraz a close second.

This isn’t to say Djokovic, Nadal or Federer have faded into irrelevance. All three continue to spark meaningful demand spikes around key moments. For example, Djokovic during the Australian Open and Federer during anniversary tributes and sponsorship appearances. However, the overall trend points toward a generational handoff. Today’s fans are turning their attention to the athletes shaping the next era.

This changing of the guard also appears to be shifting national interest in the sport. Parrot Analytics’ Sports Demand shows that in Serbia, Djokovic’s home country, tennis accounts for a sizable 21% of all demand for sports competitions.  A national sports hero like Djokovic has the ability to drive interest in a sport like tennis in his home country. The share of demand for tennis in Italy so far this year (19.7%) is not far behind Serbia. As national pride fuels fan engagement, it is likely we’re seeing the Sinner effect in real time, illustrating how the success of a local star can drive broader interest and growth for a sport in their home market.

In Spain, France and Australia, traditional tennis strongholds, tennis still commands a healthy share of overall sports interest. In the U.S., tennis captures 8.6% of the country’s sports demand, which is just above the global average of 8.1%. It serves as a reminder that even in a crowded sports ecosystem, elite talent and iconic tournaments like Wimbledon still break through.

For marketers, rights holders and broadcasters, these audience signals matter. They suggest that while nostalgia for tennis legends remains potent, the business of tennis must increasingly be forward-looking. Rising stars like Alcaraz and Sinner aren’t just winning matches, they are winning over fans, sponsors and entire countries.

To fully capitalize on this momentum, platforms and advertisers may want to double down on storytelling around this generational shift. If demand is any indicator, the future of tennis is already here and audiences are tuning in.

The post Post-Wimbledon, A New Generation of Tennis Stars Are Driving the Sport’s TV Demand appeared first on TheWrap.