Covid 19 and the coming streaming wars
In this episode of Ekalavya Chaudhuri's blog...
Introduction
With the Covid-19 pandemic shutting down Disney theme parks everywhere, Disney had to change tack, and it already had a good mode for that. It’s been pulling out all the stops to push and advertise its recently minted streaming service Disney Plus everywhere. And that’s expected. Due to the absolutely historic coronavirus epidemic, how to watch a film now, and where to watch good shows now, have both become vitally important questions for us as human beings. And streaming services will be ringing in the answer, even as they clash in an epic battle of titans.
As such, this article will explore a list of what shows will be streamed on HBO Max, what shows will be streamed on Apple TV+, and what shows will be streamed on Disney Plus–tying all of this into what it means for the strategies of these streaming platforms in the coming war.
As such, this article will explore a list of what shows will be streamed on HBO Max, what shows will be streamed on Apple TV+, and what shows will be streamed on Disney Plus–tying all of this into what it means for the strategies of these streaming platforms in the coming war.
The Problem With Traditional Theatres
Due to the pandemic crisis, public gatherings are no longer uniformly a thing. As a result, traditional cinema halls had earlier shut in what’s been described as unprecedented fashion. Even now that several are open again, it is likely that sheer fear in the mass psyche will continue to make public gatherings a not-to-be-desired happening for quite some time now. Consider how Wonder Woman 1984 flopped in halls internationally, and how understandable this was an event.
Even if there are cessations in government orders keeping halls closed in some places, the public, though they want to consume content, simply are too scared to venture out for it. So much for the problem on the demand side; we now turn to the problem on the side of supply. Shooting on any large scale obviously involves mass crews gathered on site. Shooting even on a small scale would involve a large number of people jammed into one room together, as indeed would things like post-production work, editing etc. The restrictions in these our times of corona have naturally led to a rash of coronavirus postponements for films, with the standard practices currently operating around shooting and filming.
And all of this, just as we need to watch films and shows the most. Things have been turned upside down. This is a time of great anxiety, and of uncertainty about the future. People need relief from the day-in day-out of that. They want escape and illusion. They want to be entertained. They want to be taken out of themselves and sucked into a visual spectacle. In this time, that is, to put it quite simply, a mass human psychological requirement.
Yet only a few traditional cable TV shows are going to be brave enough to want to fulfil that need. (After all, the new normal of cast social distancing on set and special camera angles to make the characters appear closer together which Australian cable TV drama Neighbours has opted for, is not going to be for everyone.)
Even if there are cessations in government orders keeping halls closed in some places, the public, though they want to consume content, simply are too scared to venture out for it. So much for the problem on the demand side; we now turn to the problem on the side of supply. Shooting on any large scale obviously involves mass crews gathered on site. Shooting even on a small scale would involve a large number of people jammed into one room together, as indeed would things like post-production work, editing etc. The restrictions in these our times of corona have naturally led to a rash of coronavirus postponements for films, with the standard practices currently operating around shooting and filming.
And all of this, just as we need to watch films and shows the most. Things have been turned upside down. This is a time of great anxiety, and of uncertainty about the future. People need relief from the day-in day-out of that. They want escape and illusion. They want to be entertained. They want to be taken out of themselves and sucked into a visual spectacle. In this time, that is, to put it quite simply, a mass human psychological requirement.
Yet only a few traditional cable TV shows are going to be brave enough to want to fulfil that need. (After all, the new normal of cast social distancing on set and special camera angles to make the characters appear closer together which Australian cable TV drama Neighbours has opted for, is not going to be for everyone.)
The Gathering of the Streaming Services
Cue streaming services–which are going to be sliding in supplying exactly that gap. The Academy Awards have announced that for this year streamed films will be eligible for Best Picture, and noises are being made about this pandemic forcing a discussion giving streaming greater ‘respectability’. But far away from such highbrow intellectual concerns, the storm clouds are gathering. Streaming services are sharpening their knives and preparing to settle into a knife-fight.
Not all streaming services, though. Advertisement revenue is likely going to be suffering for some time now, with demands low in a ravaged economy. With marketing campaigns being pulled by companies, those nimble, agile streaming services which were free and whose business models relied on advertisement revenue have just lost everything in this corona crisis and have to look at plans to rebuild or change. Which leaves the field for the coming killing fest all the clearer for the dinosaurs.
And it’s a field worth playing for even more than ever before, because of one simple factor of complication.
As remote working becomes a firmed-up practice in this time, it’s likely that many people will be finding out that working remotely suits them. This is, first, because of the non-necessity of dressing up fully formally and travelling long distances. Secondly, the advanced flexibility in scheduling non work-related demands, contributing to better work/life balance, is another variable in the equation. And in the future, when a vaccine is discovered, this culture may have become an entrenched practice which employees have both seen and demonstrated can work. Thus, at that particular point it may become just too costly and too hard for some companies to deny them that option.
As a result, there will arise the prospect of an even greater mass ask for any-time, abrupt-time, on-demand content than the streaming services were previously bargaining for in their wildest dreams. Now it is a truth universally acknowledged that the expectation of a boom is usually followed by an equal burst in competition. Therefore, the clash of the titans this blog post spoke about. And it’s going to be brutal and bloody, with the swords out.
Not all streaming services, though. Advertisement revenue is likely going to be suffering for some time now, with demands low in a ravaged economy. With marketing campaigns being pulled by companies, those nimble, agile streaming services which were free and whose business models relied on advertisement revenue have just lost everything in this corona crisis and have to look at plans to rebuild or change. Which leaves the field for the coming killing fest all the clearer for the dinosaurs.
And it’s a field worth playing for even more than ever before, because of one simple factor of complication.
As remote working becomes a firmed-up practice in this time, it’s likely that many people will be finding out that working remotely suits them. This is, first, because of the non-necessity of dressing up fully formally and travelling long distances. Secondly, the advanced flexibility in scheduling non work-related demands, contributing to better work/life balance, is another variable in the equation. And in the future, when a vaccine is discovered, this culture may have become an entrenched practice which employees have both seen and demonstrated can work. Thus, at that particular point it may become just too costly and too hard for some companies to deny them that option.
As a result, there will arise the prospect of an even greater mass ask for any-time, abrupt-time, on-demand content than the streaming services were previously bargaining for in their wildest dreams. Now it is a truth universally acknowledged that the expectation of a boom is usually followed by an equal burst in competition. Therefore, the clash of the titans this blog post spoke about. And it’s going to be brutal and bloody, with the swords out.
The Streaming Wars Preparations
It’s no wonder, then, that Disney is doing what it is–and Apple and WarnerMedia are going to be trying as hard. Amazon has never yet been able to overtake U.S. national conversation in the way Stranger Things or The Handmaid’s Tale has. But now will Netflix be dethroned?
Small scale and agile content creators may gobble up spoils, but the broad lines of this battle will be fought on prestige content: the real deal behind demands for ‘good shows to watch on streaming services’ or, more superlatively, ‘great shows to watch on streaming platforms.’ Let’s take a look at the three major challengers to Netflix in the streaming wars: HBO Max, Apple TV+ and Disney Plus, and do an analysis of how their content strategies stack up.
Small scale and agile content creators may gobble up spoils, but the broad lines of this battle will be fought on prestige content: the real deal behind demands for ‘good shows to watch on streaming services’ or, more superlatively, ‘great shows to watch on streaming platforms.’ Let’s take a look at the three major challengers to Netflix in the streaming wars: HBO Max, Apple TV+ and Disney Plus, and do an analysis of how their content strategies stack up.
HBO Max
One begins this discussion with what was the last entrant into the Streaming Wars: HBO Max on May 27. Warner (and as such, HBO) was bought in 2018 by AT&T. HBO’s former CEO Richard Plepler–for a long time New York’s more-or-less loved ambassador to Hollywood–bowed out and gave the reins over to new leadership last year. There would be no room for the old cable HBO in the atmosphere created by the Streaming Wars, after all. Under the new corporate management, here is what the strategy for their streaming service, an upgrade from the present HBO Go, will look like.
The entire Emmy-award acclaimed gamut of HBO shows is going to be serving as the spine to the strategy. That means stuff like The Sopranos, Sex & The City, Westworld, Big Little Lies–oh, and Game of Thrones, HBO’s biggest hit ever. Which ties into element B in the concoction: a focus on fantasy, science fiction and horror.
Leading here would be the Game of Thrones prequel currently being produced, House of the Dragon. It will be accompanied by another fantasy drama series based on Philip Pullman’s His Dark Materials. Joining along will be the drama horror series Lovecraft Country from Jordan Peele and J.J. Abrams. And the science fiction drama television series The Nevers from writer Joss Whedon will be coming here too.
Somewhere down the line, J.J. Abrams and Bad Robot will be producing, by HBO Max’s special command, Overlook: a thriller based on and set in Stephen King’s eponymous hotel in The Shining.
This apart, HBO Max will also ultimately be owning the rights to stream the full sets of the The Lord of the Rings and The Hobbit trilogies based on J.R.R. Tolkien’s quasi-mythological legendarium.
Element C will be the DC universe. HBO will of course be having all the recent DC films: Joker, Wonder Woman, Suicide Squad, Shazam!, Aquaman, as well as basically every Batman and Superman movie that’s ever been made in the last 40 years. This apart, J.J. Abrams and Bad Robot, again, will be producing a series specially set in the Justice League Dark universe.
Of course, now we know there is a very interesting strategy of Wonder Woman 1984 being released on HBO Max at the same time as it will be in live theatres.
The entire Emmy-award acclaimed gamut of HBO shows is going to be serving as the spine to the strategy. That means stuff like The Sopranos, Sex & The City, Westworld, Big Little Lies–oh, and Game of Thrones, HBO’s biggest hit ever. Which ties into element B in the concoction: a focus on fantasy, science fiction and horror.
Leading here would be the Game of Thrones prequel currently being produced, House of the Dragon. It will be accompanied by another fantasy drama series based on Philip Pullman’s His Dark Materials. Joining along will be the drama horror series Lovecraft Country from Jordan Peele and J.J. Abrams. And the science fiction drama television series The Nevers from writer Joss Whedon will be coming here too.
Somewhere down the line, J.J. Abrams and Bad Robot will be producing, by HBO Max’s special command, Overlook: a thriller based on and set in Stephen King’s eponymous hotel in The Shining.
This apart, HBO Max will also ultimately be owning the rights to stream the full sets of the The Lord of the Rings and The Hobbit trilogies based on J.R.R. Tolkien’s quasi-mythological legendarium.
Element C will be the DC universe. HBO will of course be having all the recent DC films: Joker, Wonder Woman, Suicide Squad, Shazam!, Aquaman, as well as basically every Batman and Superman movie that’s ever been made in the last 40 years. This apart, J.J. Abrams and Bad Robot, again, will be producing a series specially set in the Justice League Dark universe.
Of course, now we know there is a very interesting strategy of Wonder Woman 1984 being released on HBO Max at the same time as it will be in live theatres.
Element D in the mix will be the fact that the company has acquired the rights to a pretty extreme set of programming. This streaming service will now be the only place that holds the legal right for digital reruns of the all-time favourite Friends and The Big Bang Theory. Also joining these two will be an item that’ll surely be an excitement for many in these corona-haunted days: Pretty Little Liars and the mysteries of Rosewood will be available on launch on HBO Max, after it was removed from Netflix way back in 2019.
HBO Max also now owns rights to the Will Smith evergreen The Fresh Prince of Bel-Air and Rick and Morty. All eleven seasons of the modern-version Doctor Who will be available, plus future editions of the revival series will air exclusively on HBO Max after an initial run on BBC America.
Element E: Until now, the only way to see a Studio Ghibli film in the United States legally has been via a theatrical event or a physical copy. That is set to change, with HBO Max having acquired exclusive streaming rights to the entirety of the Japanese animation production company’s film library.
And as part of element F, classic films like The Wizard of Oz, Casablanca, The Shining, Singin’ in the Rain and 2001: A Space Odyssey will all be descending on HBO Max’s shores.
Game of Thrones, Friends, Big Bang Theory and Pretty Little Liars reruns, a core focus on fantasy, horror and science fiction, Studio Ghibli films, old cult classics and the DC universe all together sounds like a pretty serious contender, but it is considerably undercut by the fact that HBO Max is going to be the most expensive streaming services: $15 per month.
Element D in the mix will be the fact that the company has acquired the rights to a pretty extreme set of programming. This streaming service will now be the only place that holds the legal right for digital reruns of the all-time favourite Friends and The Big Bang Theory. Also joining these two will be an item that’ll surely be an excitement for many in these corona-haunted days: Pretty Little Liars and the mysteries of Rosewood will be available on launch on HBO Max, after it was removed from Netflix way back in 2019.
HBO Max also now owns rights to the Will Smith evergreen The Fresh Prince of Bel-Air and Rick and Morty. All eleven seasons of the modern-version Doctor Who will be available, plus future editions of the revival series will air exclusively on HBO Max after an initial run on BBC America.
Element E: Until now, the only way to see a Studio Ghibli film in the United States legally has been via a theatrical event or a physical copy. That is set to change, with HBO Max having acquired exclusive streaming rights to the entirety of the Japanese animation production company’s film library.
And as part of element F, classic films like The Wizard of Oz, Casablanca, The Shining, Singin’ in the Rain and 2001: A Space Odyssey will all be descending on HBO Max’s shores.
Game of Thrones, Friends, Big Bang Theory and Pretty Little Liars reruns, a core focus on fantasy, horror and science fiction, Studio Ghibli films, old cult classics and the DC universe all together sounds like a pretty serious contender, but it is considerably undercut by the fact that HBO Max is going to be the most expensive streaming services: $15 per month.
Apple TV+
Apple TV+ costs just $4.99 or £4.99 per month for a subscription, but it is hampered by content that is far less prestige than HBO Max.
Signing on Steven Spielberg for a series was a good move. However, the very name of the series is so blandly uninteresting that there might be people passing it over for something more catchy sounding. The era we are about to enter will, after all, have a perfect crowd of streaming options. How much of the target demographic/generation Apple TV+ will be looking at, will be wanting to tune in to something simply titled “Amazing Stories”? One understands it is a reboot, but maybe they should have rebooted the title too.
It seems Apple intends to charm all those literature majors and creative types on Twitter. But it’s difficult to say whether Dickinson will be able to compete with its probably rather niche expected audience against one streaming service that has the DC extended universe and another equal monster that is coming up on the other with…but we anticipate.
It remains to be seen anyway whether even the niche audience that could be expected will entirely take a liking to a comic treatment given to the life of a famously reclusive American woman poet who almost certainly had some mental issue, published exactly nothing during her lifetime, barely left her house for the last three decades of her life and whose poetry involved, you know, lines like “Because I could not stop for Death/He kindly stopped for me.” Do you feel like laughing?
Again a reboot, of the ‘90s television children’s series of the same name this time, Ghostwriter claims it’ll tell the tale of four kids brought together when a ghost begins to haunt their neighbourhood bookstore, releasing fictional characters into the real world. It all feels a little like the choice was made looking at the success of Stranger Things. That of course in its own turn was inspired by the template, tropes and archetypes that Stephen King (and television series like the original It) influenced creative professionals growing up in the ‘80s and ‘90s with. But with how closely the premise of this storyline basically mimics, it may be that a lot of the demographic Apple TV+ is targeting will see the series as blatantly derivative.
This of course barely scratches the surface of how hard Apple is trying to copy Netflix, bizarre examples of which include Home (for reference, The World’s Most Extraordinary Homes is over on Netflix.) Over all, Apple TV+ looks like it has too unappetising fare for the most part, which even the low subscription price and snazzy gimmicks such as an exclusive deal with Oprah are unlikely to redeem. My verdict? I'm frankly bored already.
Signing on Steven Spielberg for a series was a good move. However, the very name of the series is so blandly uninteresting that there might be people passing it over for something more catchy sounding. The era we are about to enter will, after all, have a perfect crowd of streaming options. How much of the target demographic/generation Apple TV+ will be looking at, will be wanting to tune in to something simply titled “Amazing Stories”? One understands it is a reboot, but maybe they should have rebooted the title too.
It seems Apple intends to charm all those literature majors and creative types on Twitter. But it’s difficult to say whether Dickinson will be able to compete with its probably rather niche expected audience against one streaming service that has the DC extended universe and another equal monster that is coming up on the other with…but we anticipate.
It remains to be seen anyway whether even the niche audience that could be expected will entirely take a liking to a comic treatment given to the life of a famously reclusive American woman poet who almost certainly had some mental issue, published exactly nothing during her lifetime, barely left her house for the last three decades of her life and whose poetry involved, you know, lines like “Because I could not stop for Death/He kindly stopped for me.” Do you feel like laughing?
Again a reboot, of the ‘90s television children’s series of the same name this time, Ghostwriter claims it’ll tell the tale of four kids brought together when a ghost begins to haunt their neighbourhood bookstore, releasing fictional characters into the real world. It all feels a little like the choice was made looking at the success of Stranger Things. That of course in its own turn was inspired by the template, tropes and archetypes that Stephen King (and television series like the original It) influenced creative professionals growing up in the ‘80s and ‘90s with. But with how closely the premise of this storyline basically mimics, it may be that a lot of the demographic Apple TV+ is targeting will see the series as blatantly derivative.
This of course barely scratches the surface of how hard Apple is trying to copy Netflix, bizarre examples of which include Home (for reference, The World’s Most Extraordinary Homes is over on Netflix.) Over all, Apple TV+ looks like it has too unappetising fare for the most part, which even the low subscription price and snazzy gimmicks such as an exclusive deal with Oprah are unlikely to redeem. My verdict? I'm frankly bored already.
Disney Plus
Having an affordable subscription price of $6.99 per month, Disney Plus was already at 54.5 million subscribers worldwide within just five months of its launch. For comparison, Netflix was at 182.8 million worldwide subscribers then, after operating from 2007. In a very smart move, Disney Plus acquired HotStar when releasing in India, thus gobbling up an already existing customer base of 8 million, before immediately beginning to aggressively advertise via platforms like Instagram, Facebook and Google ad recommendations.
Netflix was earlier given bits and pieces of things that allowed it to try to carve a bit of its own in the Marvel continuity: shows like Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Punisher or the one-season team-up miniseries The Defenders. But when Disney saw the success of the Marvel property, it went after it all. As a result, Netflix and it have grown apart and all those shows are cancelled. And Disney will be bringing out the really big guns which it’s been storing up.
Obviously, the Marvel and Star Wars universes are franchises crucial to the future and the economic well-being of Disney as a company. Multiple entries from either series are basically planned to drop in traditional theatres at least once a year probably for the rest of viewers' lives. And every back movie is going to be on this app.
Disney’s decision to get into streaming services in its own right, in a logical move considering the way the world is headed, came with the endings of the Marvel Avengers saga and current iteration of the Star Wars cinematic saga in theatres. It therefore now has the propelling thrust behind it to launch spin-offs on this app. This is extremely well timed and well planned in terms of strategy and tactics.
A first show will explore what happens after the Tom Hiddleston-played character Loki’s earlier version escapes in a time-travel involved twist during the events of the final Avengers film. The trailer looks strange as hell, with comic book oddities like the Time Variance Authority involved and a villain who we're all dying to know the identity of. Two other shows are there, both playing on the basic motif of focusing on lesser known Marvel characters, specifically those who did not get, or are not going to be getting, their own stand-alone feature films. WandaVision will have Elizabeth Olsen’s Scarlet Witch and Paul Bettany’s The Vision. Again, the trailer looks like Disney is going to try for some brave storytelling, something a little postmodern and abstract. In a more linear badass ride, Anthony Mackie and Sebastian Stan team up in The Falcon and The Winter Soldier.
Marvel has a record of making feature films much sunnier, lighter and brighter (both in terms of tone and colour palette), and family-friendly than DC. Remember what we said about audiences wanting to be taken out of themselves and sucked into a visual spectacle in these times? Marvel’s razzmatazz would be what the doctor ordered. Not too many people want to watch doom and gloom when it’s already out there, all around. Considering that, Disney may well beat HBO Max’s properties hollow on this front.
The animated series What If…? will investigate alternative outcomes for key moments in the Marvel Cinematic Universe. And following the initial big hits that talent from the established Marvel Cinematic Universe will presumably make, the company will launch into shows based on lesser known Marvel characters, Ms. Marvel, She Hulk and Moon Knight. It’s a well-planned strategy with Marvel studio boss Kevin Feige at its helm.
Disney clearly also has a part in their plan involving going with tried and tested creative talent. Feige will not be the only Marvel creative who’ll be involved in the programming of Disney Plus: Jon Favreau of Iron Man direction fame came on board to oversee Star Wars series The Mandalorian, set three years after the last Star Wars film, The Last Jedi. The Mandalorian has been a huge runaway huge hit.
Since stuff like The Mandalorian had been got on board already, Disney is entering the streaming war all locked, loaded and guns blazing.
Marvel’s Avengers: Endgame became the highest grossing film of all time, with a haul of $2.79 billion. That is proof of the craze that Marvel-mania can inspire. Riding on, and leveraging, the awesome power of this, Disney is the pick of the three challengers to topple reigning champion Netflix off its lordship of the streaming services fiefdom.
It is likely that Netflix is enjoying its last lonely winter at the top of the streaming food chain. Night is lowering, and The Streaming Wars are coming.
Netflix was earlier given bits and pieces of things that allowed it to try to carve a bit of its own in the Marvel continuity: shows like Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Punisher or the one-season team-up miniseries The Defenders. But when Disney saw the success of the Marvel property, it went after it all. As a result, Netflix and it have grown apart and all those shows are cancelled. And Disney will be bringing out the really big guns which it’s been storing up.
Obviously, the Marvel and Star Wars universes are franchises crucial to the future and the economic well-being of Disney as a company. Multiple entries from either series are basically planned to drop in traditional theatres at least once a year probably for the rest of viewers' lives. And every back movie is going to be on this app.
Disney’s decision to get into streaming services in its own right, in a logical move considering the way the world is headed, came with the endings of the Marvel Avengers saga and current iteration of the Star Wars cinematic saga in theatres. It therefore now has the propelling thrust behind it to launch spin-offs on this app. This is extremely well timed and well planned in terms of strategy and tactics.
A first show will explore what happens after the Tom Hiddleston-played character Loki’s earlier version escapes in a time-travel involved twist during the events of the final Avengers film. The trailer looks strange as hell, with comic book oddities like the Time Variance Authority involved and a villain who we're all dying to know the identity of. Two other shows are there, both playing on the basic motif of focusing on lesser known Marvel characters, specifically those who did not get, or are not going to be getting, their own stand-alone feature films. WandaVision will have Elizabeth Olsen’s Scarlet Witch and Paul Bettany’s The Vision. Again, the trailer looks like Disney is going to try for some brave storytelling, something a little postmodern and abstract. In a more linear badass ride, Anthony Mackie and Sebastian Stan team up in The Falcon and The Winter Soldier.
Marvel has a record of making feature films much sunnier, lighter and brighter (both in terms of tone and colour palette), and family-friendly than DC. Remember what we said about audiences wanting to be taken out of themselves and sucked into a visual spectacle in these times? Marvel’s razzmatazz would be what the doctor ordered. Not too many people want to watch doom and gloom when it’s already out there, all around. Considering that, Disney may well beat HBO Max’s properties hollow on this front.
The animated series What If…? will investigate alternative outcomes for key moments in the Marvel Cinematic Universe. And following the initial big hits that talent from the established Marvel Cinematic Universe will presumably make, the company will launch into shows based on lesser known Marvel characters, Ms. Marvel, She Hulk and Moon Knight. It’s a well-planned strategy with Marvel studio boss Kevin Feige at its helm.
Disney clearly also has a part in their plan involving going with tried and tested creative talent. Feige will not be the only Marvel creative who’ll be involved in the programming of Disney Plus: Jon Favreau of Iron Man direction fame came on board to oversee Star Wars series The Mandalorian, set three years after the last Star Wars film, The Last Jedi. The Mandalorian has been a huge runaway huge hit.
Since stuff like The Mandalorian had been got on board already, Disney is entering the streaming war all locked, loaded and guns blazing.
Marvel’s Avengers: Endgame became the highest grossing film of all time, with a haul of $2.79 billion. That is proof of the craze that Marvel-mania can inspire. Riding on, and leveraging, the awesome power of this, Disney is the pick of the three challengers to topple reigning champion Netflix off its lordship of the streaming services fiefdom.
It is likely that Netflix is enjoying its last lonely winter at the top of the streaming food chain. Night is lowering, and The Streaming Wars are coming.
Sources
https://www.digitaltrends.com/home-theater/what-is-hbo-max/
https://www.techradar.com/in/news/disney-plus-shows-movies-sign-up
https://www.macworld.com/article/3245534/apple-tv-originals-release-dates-rumors-news-actors-directors.html
https://variety.com/2020/tv/news/disney-plus-subscribers-earnings-coronavirus-1234598746/
https://www.forbes.com/sites/jeffewing/2019/12/03/data-shows-the-mandalorian-is-tvs-most-in-demand-series-in-the-world/#5d565df33a9f
https://www.techradar.com/in/news/disney-plus-shows-movies-sign-up
https://www.macworld.com/article/3245534/apple-tv-originals-release-dates-rumors-news-actors-directors.html
https://variety.com/2020/tv/news/disney-plus-subscribers-earnings-coronavirus-1234598746/
https://www.forbes.com/sites/jeffewing/2019/12/03/data-shows-the-mandalorian-is-tvs-most-in-demand-series-in-the-world/#5d565df33a9f