Section Title (Montserrat Bold, 16 pt.)

Chairman’s Letter

03

Research Note04

Executive Summary

05

Total Theatrical & Home/Mobile Entertainment

07

Home/Mobile Entertainment: Global

12Home/Mobile Entertainment: United States

16

Home/Mobile Viewing Demographics

26

Theatrical: Global

37

Theatrical: U.S. & Canada

44

Theatrical Demographics

52

Appendix56

Chairman’s Letter

To all fans of film, television, and streaming:
Over the last two years, the pandemic has impacted almost every aspect ofour daily lives, generating new and unexpected challenges. The film,
television, and streaming industry has not been immune, and in many ways,
we are still navigating this new reality. But, as the Motion Picture Associationcommemorates our 100th anniversary this year, I have a renewed sense of
optimism, thanks to what I see in our 2021 Theatrical and HomeEntertainment Market Environment (THEME) Report.
In short, 2021 marked the onset of our industry’s rapid rebound. I’d like tothank each and every member of our global audience for contributing to thissuccess, which supports millions of creators around the world. The combined
global theatrical and home/mobile entertainment market reached $99.7 billion,a growth of 24 percent since 2020, but more importantly, surpassing the prepandemic 2019 value. Add in pay TV, and the combined global theatrical andhome entertainment market grew six percent from 2020 to $328.2 billion,
matching 2019’s record high.
These figures underscore that our industry is swiftly recovering around theworld. For example, the digital content streaming marketplace in 2021
accounted for 72 percent of the combined theatrical and home/mobile
entertainment market, up from 46 percent in 2019.
In the U.S., the combined theatrical and home/mobile entertainment market in 2021 was $36.8 billion, a 14 percent
increase compared to 2020, but notably overtaking the 2019 figure of $36.1 billion. Streaming globally also continued toboom, with subscriptions in 2020 surpassing the one billion mark, and growing 14 percent in 2021 to reach 1.3 billion.
The global box office market was $21.3 billion in 2021, up 81 percent compared to 2020, due to theater re-openings
following the COVID-19 pandemic lockdowns, but remained well below pre-pandemic levels. Similarly, the U.S./Canadabox office market was $4.5 billion in 2021, up 105 percent from 2020, although still down substantially compared to
2019. At the same time, the resounding success of Spider-Man: No Way Home and, more recently, The Batman,
unmistakably show the value of big theatrical openings even during a pandemic.
This report clearly demonstrates that our industry is powerful and resilient, and I am proud to see that production andreleases of new shows and movies continue to skyrocket. Last year alone, more than 940 films entered production (morethan double the 2020 figure), almost 560 original scripted series were released to U.S. audiences (up 13% from 2020),
and more than 1,800 total original series were released, including children’s programming, daytime dramas, andunscripted shows. This kind of pace of creativity is testament to how successful our industry’s health and safety
protocols have been during the COVID-19 era.
As the Motion Picture Association looks ahead to our second century, I have never felt more confident about the future.
We have navigated a century’s worth of challenges, and yet we continue to re-emerge as vibrant and creative as ever.
Our members are the most dynamic and innovative companies on earth. Their capacity to bring people together throughthe timeless magic of extraordinary stories, well told, will continue to amaze, inspire, and captivate billions of viewers
over the next 100 years.
Best,
Charles H. Rivkin
Chairman and CEO

2021 THEME Report | Chairman’s Letter

Page 3

Research Note

A NOTE FROM THE RESEARCH TEAM
Each year, the Motion Picture Association (MPA) research team produces the Theatrical and Home/Mobile
Entertainment Market Environment (THEME) Report by collecting and analyzing data from third-party sources andconducting an online audience survey of U.S. viewers of theatrical and home/mobile entertainment. The
home/mobile entertainment market covers both digital home/mobile entertainment (electronic sell-through [EST],
video-on-demand [VOD], and subscription streaming) and physical home/mobile entertainment (Blu-ray and DVD
rentals and sales) on all devices – whether at home or on mobile. The report also provides estimates ofsubscriptions to pay television and online video services. The appendix contains a glossary of key terms.
As with last year, we aimed to collect comparable data to provide accurate measurements during the ongoing
COVID-19 pandemic. However, due to the unprecedented impacts of the pandemic on our industry, we havecontinued the adjustments to our reporting from last year. For example, some comparisons included in pastreports continue to be infeasible to include (e.g., ticket prices and comparisons to theme park and sports,
technology/moviegoer analysis, and detailed frequent moviegoer analysis, due to small base sizes) and others
require some caveats, such as country box office comparisons.
As part of our ongoing effort to make the THEME Report useful and comprehensive, the following updates arealso present in this year’s edition:
COVID-19 Insights: As with last year, we asked two additional questions in the survey to better understand how
the COVID-19 pandemic has affected home/mobile viewing in the United States. Respondents who viewed via
EST/VOD were asked if they had purchased a film via premium video-on-demand (PVOD). The second question
gauged how much viewing had changed for each respondent for each of the distribution channels ofhome/mobile entertainment. We also included an updated graph to the report showing the percentage of screens
closed by week.
Methodological Refinements: We added new data and graphs to provide an aggregated view of the theatricaland home entertainment/mobile market combined with the pay television subscription market using Omdia data.
We provided new breakouts of the international home/mobile market by region and added new data estimating
online exclusive film releases based on Ampere data. Due to changes in data availability, we have updated the
U.S. top 20 watched at home titles to be based on weekly charts available at The Numbers.
Currency Effects: In order to aggregate data from all the international markets covered by this report,
measurements are conducted in U.S. dollars. That means from year to year, the relative strength or weakness of
the U.S. dollar may directly impact the results presented in this report. It also means that the percentage change
measurements will differ from others calculated based on local currency.
Updates from Sources: Figures in this report have been updated to reflect the most accurate data now
available, including revisions to historical data made by Omdia. Pandemic-related shutdowns have affectedavailability of cinema screen classification. Omdia was formerly known as IHS Markit in prior reports.

We hope this note – and the report itself – help to provide a better understanding of the evolving global theatricaland home/mobile entertainment market.
Julia Jenks
Vice President of Worldwide Research2021 THEME Report | Research Note

Page 4

Executive Summary

TOTAL THEATRICAL & HOME/MOBILE ENTERTAINMENT•

In 2021, the combined global theatrical and home/mobile entertainment market, excluding pay TV, was $99.7
billion, a 24 percent increase compared to 2020 (p.8), surpassing 2019’s total. A 14 percent increase in the global
home/mobile entertainment market (p.13) and an 81 percent increase in the global theatrical market following
theater re-openings (p.38) contributed to the increase. When including pay TV, the combined global theatrical andhome/mobile entertainment market was $328.2 billion, a six percent increase, matching 2019’s record high (p.9).

•

In the United States, theatrical and home/mobile entertainment, excluding pay TV, was $36.8 billion in 2021, a 14
percent increase compared to 2020 (p. 10). A 105 percent increase in the box office market (p. 45) and a 11
percent increase in the U.S. digital home/mobile entertainment market (p.17) contributed to the overall increase.
When including pay TV, the combined theatrical and home/mobile entertainment market was $133.5 billion, holding
steady from 2020 (p.11).

Global Trends

HOME/MOBILE ENTERTAINMENT•

The global home/mobile entertainment market (content released digitally and on disc) reached $78.5 billion in
2021, a 14 percent increase compared to 2020, driven by digital. The digital market increased 11 percent in the
U.S. and 24 percent outside the U.S., compared to 2020 (p. 13).

•

The number of subscriptions to online video services around the world increased to 1.3 billion in 2021, a 14
percent increase compared to 2020. Online video subscription became the second largest subscription revenue
market in 2021, surpassing satellite TV, as a result of a $17.9 billion, or 26 percent, increase. (p. 15).

U.S. Trends•

In the United States, the home/mobile entertainment market (content released digitally and on disc) increased to$32.3 billion in 2021, up seven percent compared to 2020, driven by digital (p.17). The number of online video
subscriptions in the United States increased 14 percent to 353.2 million in 2021 (p. 20).

•

In 2021, there were more than 1,800 original series released, including nearly 560 scripted original series. The
number of original series increased 15 percent compared to 2020, when many series skipped seasons due topandemic-related production delays. The increase in 2021 was driven by original series released on online
services, which reached nearly 700 series in 2021 (p. 23). There were nearly 180 original films exclusive to online
services released in 2021, comparable to 2020 and an over 90 percent increase from 2017 (p. 24).

•

Approximately 80 percent of U.S. adults watch movies and shows/series via traditional television services andonline subscription services, the highest proportion of the home/mobile viewing methods (p.27). The
Hispanic/Latino ethnicity category is overrepresented in the population of daily viewers of several viewing methods(p.29).

•

More than half (53 percent) of U.S. adults reported that their viewing of movies or shows/series via an online
subscription service increased during the COVID-19 pandemic period, while 42 percent reported that their viewing
via pay TV increased (p. 28).

•

More than 85 percent of children and more than 55 percent of adults watched movies and/or shows/series onmobile devices (p. 33). Daily viewers of shows/series and movies via mobile devices skewed more heavily towards
the 18-24 and 25-39 year age groups, and towards the Hispanic/Latino and African-American/Black ethnicity
categories (p. 31).

2021 THEME Report | Executive Summary

Page 5

Executive Summary

THEATRICAL
Global Trends•

The global box office market for all films released in each country around the world was $21.3 billion in 2021, up 81
percent over 2020’s total as a result of theater re-openings following COVID-19 pandemic lockdowns. Theinternational box office market ($16.8 billion), which excludes the U.S./Canada, increased 76 percent andaccounted for 79 percent of the global market (p. 38).

•

Year-end comparisons between country box office totals are challenging due to the effects of the pandemic,
differing local restrictions, and related theater closures. Under these parameters, the top three box office markets
outside the U.S./Canada in 2021 were China ($7.3 billion, including online ticketing fees), Japan ($1.5 billion), andthe U.K. ($0.8 billion) (p. 40).

U.S./Canada Trends•

The U.S./Canada box office market was $4.5 billion in 2021, up 105 percent from 2020, although the market is still
down substantially from pre-pandemic levels. U.S./Canada admissions, or tickets sold (470 million), were up 100
percent compared to 2020 (p. 45).

•

Just under half (47%) of the U.S./Canada population – or 168 million people – went to the cinema at least once in
2021 (p. 53). Per capita attendance, or the average number of times a person went to the cinema, was highest
among the 12-17 age group, and among the Hispanic/Latino ethnicity category (p. 55).

•

Frequent moviegoers – individuals who go to the cinema once a month or more – continue to have adisproportionate impact on cinema admissions. Frequent moviegoers consisted of only three percent of the
U.S./Canada population (12 million people) in 2021 but accounted for 34 percent of tickets sold (p.53).

•

More than 940 films entered production during 2021, an increase of 111 percent compared to 2020, when many
productions were shut down or delayed due to the COVID-19 pandemic. (p.47).

2021 THEME Report | Executive Summary

Page 6

Global Theatrical & Home/Mobile
Entertainment

In 2021, the combined theatrical and home/mobile entertainment1 market2 globally was $99.7 billion, a 24
percent increase compared to 2020, surpassing 2019’s value. This figure does not include the pay televisionsubscription market. There was an 81 percent increase in the global theatrical market due to theaters reopening and an 18 percent increase in the digital home/mobile entertainment market compared to 2020.
Global Theatrical & Home/Mobile Entertainment Market (US$ Billions)
Source: Omdia (International), Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)

98.1

$100

92.1
$84.6

80.5

$80

$42.3
$41.8

$60

99.7
$21.3

$11.8

$41.0

$40
$28.7

$37.7

$45.5

$14.9

$12.6

$10.3

2017

2018

$60.7

$71.9

$20
$0
Physical

2019
DigitalTheatrical

$8.0

$6.5

2020

2021

In 2021, the digital market accounted for 72 percent of the combined theatrical and home/mobile
entertainment market, down from 75 percent in 2020. The theatrical market (21%) and the physical market(7%) made up the rest.
2021 Global Theatrical & Home/Mobile Entertainment Market (% Share)3
Source: Omdia (International), Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)

Theatrical
21%

Physical
7%

Digital72%
1 Home/mobile entertainment refers to entertainment content viewed on all devices, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This

includes both digital methods (electronic sell-through [EST], video on demand [VOD] and paid subscription streaming [SVOD] – excluding virtual pay TV – andphysical methods (Blu-ray and DVD sales and rentals). Digital includes movies and TV, and excludes sports. The advertising-based market is also excluded.
Previous years’ estimates may be updated based on changes made by sources.
2 Throughout this report, the term “market” refers to consumer spending. (Note that the subscription streaming subcategory is revenue.)
3 The combined market for entertainment content at movie theaters and content released digitally and on disc. This excludes pay television subscription revenue andlicensing, and the advertising-based market.

2021 THEME Report | Global Theatrical & Home/Mobile Entertainment

Page 8Global Theatrical & Home/Mobile
Entertainment

When pay television subscription4 is added to the total combined global theatrical and home/mobile
entertainment market, the value increases to $328.2 billion, a six percent increase compared to 2020, matching2019’s record high.
Global Theatrical, Home/Mobile Entertainment and Pay TV Market (US$ Billions)
Source: Omdia (International), Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)$400$318.6$328.0328.2$234.0$235.9$230.1

$41.0

$41.8

$42.3

328.2

309.0

$300

$200

228.5

$228.5

$100
$28.7

$14.9

$37.7

$12.6

$45.5

$0
2017

2018
Physical

Digital

$21.3

$11.8
$10.3

2019
Theatrical

$60.7

$71.9
$8.0

2020
Pay TV$6.5

2021

Pay television subscription accounted for 70 percent of the total combined theatrical, home/mobile
entertainment and pay TV market, with the digital market (22%), theatrical market (6%), and the physicalmarket (2%) making up the rest.
2021 Global Theatrical, Home/Mobile Entertainment and Pay TV Market (% Share)5
Source: Omdia (International), Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)

Physical2%
Digital22%

Pay TV
70%

Theatrical6%

4 Pay television subscription includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers

included are basic, extended basic, premium, and a la carte. Previous years’ estimates may be updated based on changes made by sources.
5 The combined market for entertainment content on pay TV services, cinema screens, digital services and discs. This excludes the advertising-based market.

2021 THEME Report | Global Theatrical & Home/Mobile Entertainment

Page 9

U.S. Theatrical & Home/Mobile Entertainment

In 2021, the combined theatrical and home/mobile entertainment market in the United States6 was $36.8
billion, a 14 percent increase compared to 2020 and a 15 percent increase compared to 2017, with growth inboth the theatrical and digital markets.
U.S. Theatrical & Home/Mobile Entertainment Market (US$ Billions)$40$35

Source: Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment)

$31.9

$30
$25

$36.8

$36.1

$35.1

$11.4

$11.9

$32.2
$2.2

$4.5

$26.5

$29.5

$11.1

$20
$15

$14.0

$17.4

$20.0

$6.8

$5.8

$4.7

$3.5

$2.8

2018

2019

2020

2021

$10
$5
$0

2017

Physical

DigitalTheatrical

In 2021, the digital market accounted for 80 percent of the combined theatrical and home/mobile entertainment
market in the United States, followed by the theatrical market (12%), and the physical market (8%).
2021 U.S. Theatrical & Home/Mobile Entertainment Market (US$ Share)
Source: Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment)

Theatrical
12%

Physical
8%

Digital80%
6 U.S. home/mobile entertainment market data comes from Digital Entertainment Group (DEG), which only covers the U.S. DEG’s definition of physical includes sell-through packaged goods and physical rental. Digital includes EST, VOD, and subscription streaming (SVOD). VOD spending does not include premium Video-onDemand (PVOD). Including PVOD would increase the digital total. Theatrical market data comes from Comscore and includes both U.S. and Canada. Previous
years’ estimates may be updated based on changes made by source. Pay television subscription revenue and licensing, and the advertising-based market, are notincluded.

2021 THEME Report | U.S. Theatrical & Home/Mobile Entertainment

Page 10

U.S. Theatrical & Home/Mobile Entertainment

When pay television subscription7 is added to the combined U.S. theatrical and home/mobile entertainment
market in the United States, the 2021 total was $133.5 billion, holding steady compared to 2020 and a six
percent decrease compared to 2017 due to decreases in the pay TV and physical markets.
U.S. Theatrical & Home/Mobile Entertainment Market and Pay TV Market (US$ Billions)
Source: Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment), Omdia (Pay Television)$160$141.5$142.3$140.4$109.6$107.2$104.3

$11.1
$14.0
$6.8

$11.9

$11.4

$17.4
$5.8
2018

$20.0

$140

$133.7$133.5$101.5

$96.7

$2.2

$4.5

$120
$100
$80
$60

$40
$20
$0

2017

Physical

$4.7

2019
DigitalTheatrical

$29.5

$26.5

$3.5
2020

$2.8
2021

Pay TVPay television subscription accounted for 73 percent of the total combined theatrical, home/mobile
entertainment and pay TV market, followed by the digital market (22%), theatrical market (3%), and thephysical market (2%).
2021 U.S. Theatrical & Home/Mobile Entertainment Market and Pay TV Market (US$ Share)8
Source: Comscore – Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment), Omdia (Pay Television)

Physical2%
Digital22%

Pay TV73%

Theatrical3%

7 Pay television subscription includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers included arebasic, extended basic, premium, and a la carte. Previous years’ estimates may be updated based on changes made by sources.
8 The combined market for entertainment content on pay TV services, cinema screens, digital services and discs. This excludes the advertising-based market.

2021 THEME Report | U.S. Theatrical & Home/Mobile Entertainment

Page 11

Global Home/Mobile Entertainment

In 2021, the home/mobile entertainment9 market (content released digitally and on disc) reached $78.5 billion
globally, a 14 percent increase compared to 2020. The digital market was the driver of growth. The U.S. digitalmarket increased 11 percent and the international digital market increased 24 percent, when compared to2020.

Global Home/Mobile Entertainment Market (US$ Billions)
Source: Omdia (International) and Digital Entertainment Group (U.S.)

U.S. PhysicalU.S. Digital

International Physical

$68.7

$70
$60

$55.7
$34.2

$43.4

$40

$20.3

$14.6

$30

$25.5

$0

International

U.S.12

$4.5

$3.7

$8.0

$6.8

$5.5

$14.0

$17.4

$20.0

$26.5

$29.5

$6.8

$5.8

$4.7

$3.5

2017

2018

2019

2020

$2.8
2021

$20
$10

$78.5

$42.5

$50.3

$50

Total

International Digital

2017

2018

2019

2020

2021 21 vs. 20

Physical10

$8.0

$6.8

$5.5

$4.5

$3.7

-16%

Digital11

$14.6

$20.3

$25.5

$34.2

$42.5

24%

Physical

$6.8

$5.8

$4.7

$3.5

$2.8

-20%

Digital

$14.0

$17.4

$20.0

$26.5

$29.5

11%

$43.4

$50.3

$55.7

$68.7

$78.5

14%

9 Home/mobile entertainment refers to entertainment content viewed on all devices, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This

includes both digital methods (EST, VOD, and paid subscription streaming (SVOD) – excluding virtual pay TV – and physical methods (Blu-ray and DVD sales andrentals). Digital includes movies and TV, and excludes sports. Previous years’ estimates may be updated based on changes made by sources.
10 International physical is sourced from Omdia and includes all countries except the United States. Includes Movie and TV genre rental and retail consumer
spending. Previous years’ estimates may be updated based on changes made by source.
11 International digital is sourced from Omdia and includes all countries except the United States. Includes online video (EST, iVOD), Pay TV EST/SVOD/VOD for TV
and Movie genre consumer spending. Also includes Online Subscription Revenue (Multiscreen, N/A (Others) and Online Channel) for movie and TV genre,excluding Virtual Pay TV. Previous years’ estimates may be updated based on changes made by source.
12 The source of U.S. home/mobile entertainment data is Digital Entertainment Group (DEG), which covers the United States (not Canada). DEG’s definition ofphysical includes sell-through packaged goods and physical rental. Digital includes EST, VOD, and subscription streaming (SVOD). VOD spending does notinclude premium Video-on-Demand (PVOD). Including PVOD would increase the digital total. Previous years’ estimates may be updated based on changes madeby source.

2021 THEME Report | Global Home/Mobile Entertainment

Page 13

International Home/Mobile Entertainment

The Europe, Middle East & Africa (EMEA) home/mobile entertainment market13 reached $19.6 billion in 2021,
a 21 percent increase compared to 2020.
The Asia Pacific home/mobile entertainment market reached $18.0 billion in 2021, a 17 percent increase
compared to 2020.
Latin America’s home/mobile entertainment market increased 29 percent in 2021 to a total of $6.0 billion.
International Home/Mobile Entertainment Market by Region (US$ Billions)
Source: Omdia

EMEA

Asia Pacific

Latin America

$30

$19.6
$20

$10

$18.0

$16.2
$15.4
$9.1 $9.0

$11.0

$11.0

$12.4

$12.6

$3.5

$2.8

$2.1

$6.0

$4.6

$0
2017

2018

2019

2020

2021

2017

2018

2019

2020

2021

% Change14
21 vs. 20% Change14
21 vs. 17

Europe, Middle East & Africa

$9.1

$11.0

$12.4

$16.2

$19.6

21%

116%

Asia Pacific

$9.0

$11.0

$12.6

$15.4

$18.0

17%

101%

Latin America

$2.1

$2.8

$3.5

$4.6

$6.0

29%

179%

Total

$20.2

$24.8

$28.5

$36.2

$43.6

21%

116%

13 Home/mobile entertainment refers to entertainment content viewed on all devices, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This

includes both digital methods (EST, VOD, and paid subscription streaming (SVOD) – excluding virtual pay TV – and physical methods (Blu-ray and DVD sales andrentals). Digital includes movies and TV, and excludes sports. Previous years’ estimates may be updated based on changes made by sources.
14 Percentage change is calculated using table values before rounding.

2021 THEME Report | Global Home/Mobile Entertainment

Page 14

Global Pay TV & Online Video Subscriptions

The global total of online video subscriptions (1.3 billion), such as Netflix and Disney+, increased by 14
percent, or 164.1 million, when comparing 2021 to 2020. The number of cable subscriptions decreased by one
percent in 2021 to 526.5 million. Households with more than one type of subscription service are counted ineach of the categories to which they subscribe. For example, the majority of households have both pay TV andonline subscriptions15, and are counted in both categories.
Global Pay TV & Online Video Subscriptions (Millions)16
Source: Omdia

1,600

Online Video

1,400

Cable

1,200
1,000
800

Internet Protocol Television(IPTV)

600

Satellite

400

Virtual Pay TV

200
Digital Terrestrial Television
(DTT)

0
2017

2018

2019

2020

2021

The pay TV subscription market (excluding online video subscription) was $228.5 billion globally in 2021.
Cable remains the largest subscription market in terms of revenue, remaining steady from 2020 despite thedecrease in subscriptions. Online video subscription became the second largest subscription revenue market
in 2021, surpassing satellite TV, as a result of a $17.9 billion, or 26 percent, increase.
Global Pay TV & Online Video Subscription Markets (US$ Billions)16, 17
Source: Omdia

$120
$100
$80
$60
$40
$20
$0
2017
Cable

2018
2019
Satellite
Online Video
Virtual Pay TV

2020
IPTV

2021
DTT

Ampere Analysis graph (10/24/18), “SVoD-only households vs. pay TV-only households.” Retrieved from https://www.ampereanalysis.com/blog/aaee9a6c-e7eb496c-bedc-e9e36f78ce1f
16 Online video subscription includes Channel (e.g. SVOD), Multiscreen (e.g. TV Everywhere), and N/A (Others), and excludes Virtual Pay TV as well as theadvertising-based and online transactional markets. Virtual Pay TV includes services such as Sling TV and Hulu Live TV. Online and Virtual Pay TV both include
movies, sports, and TV. Previous years’ estimates were updated based on changes made by source.
17 Market includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers included are basic,
extended basic, premium, and a la carte. Previous years’ estimates may be updated based on changes made by source.
15

2021 THEME Report | Global Pay TV & Online Video Subscriptions

Page 15

U.S. Home/Mobile Entertainment

In 2021, the overall home/mobile entertainment market (content released digitally and on disc) in the UnitedStates was $32.3 billion, up seven percent compared to 2020. The digital market increased by 11 percent
compared to 2020, while the physical market decreased by 20 percent. The subscription market continues toincrease (up 19% from 2020), while the transactional market continues to decrease (down 21% from 2020).
U.S. Home/Mobile Entertainment Market (US$ Billions)18
Source: Digital Entertainment Group

Physical

Digital

$40
$30

$0

$32.3

$20.8

$23.2

$24.7

$14.0

$17.4

$20.0

$26.5

$29.5

$6.8

$5.8

$4.7

$3.5

2017

2018

2019

2020

$2.8
2021

$20
$10

$30.0

2017

2018

2019

2020

2021

21 vs. 20

Physical

$6.8

$5.8

$4.7

$3.5

$2.8

-20%

Digital

$14.0

$17.4

$20.0

$26.5

$29.5

11%

Total

$20.8

$23.2

$24.7

$30.0

$32.3

7%

$40
$30.0
$30
$20

$20.9

$23.2

$24.8

$10.5

$10.0

$9.0

$10.4

$13.2

$15.8

2017

2018

2019

$10

$32.3
$7.0

$8.8
$21.2

$25.3

2020

2021

$0
Subscription

Transactional

2017

2018

2019

2020

2021

21 vs. 20

Transactional19

$10.5

$10.0

$9.0

$8.8

$7.0

-21%

Subscription19

$10.4

$13.2

$15.8

$21.2

$25.3

19%

Total

$20.9

$23.2

$24.8

$30.0

$32.3

7%

18 The source of U.S. home/mobile entertainment data is Digital Entertainment Group (DEG), which covers the United States (not Canada). DEG’s definition ofphysical includes sell-through packaged goods and physical rental. Digital includes EST, VOD, and subscription streaming (SVOD). VOD spending does notinclude premium Video-on-Demand (PVOD). Previous years’ estimates may be updated based on changes made by source.
19 Transactional includes physical sell-through packaged goods and rental, EST, and VOD. VOD spending does not include premium Video-on-Demand (PVOD).

Subscription includes digital subscription streaming.

2021 THEME Report | U.S. Home/Mobile Entertainment

Page 17

U.S. Top 20 Weekly Watched at HomeTop 20 Titles in DEG20 Weekly Watched at Home List, 202121
Source: DEG and The Numbers

Rank

Title

StudioWeeks in Top 20
Watched at Home

1

Yellowstone: S1Paramount

49

2

Yellowstone: S3Paramount45

3

Harry Potter: Complete 8-Film Collection

Warner Bros.

40

4

Yellowstone: S2Paramount

35

5

The Croods: A New AgeDreamWorks

19

6

NobodyUniversal

17

7

Tenet

Warner Bros.

16

8

Wrath of Man

MGM

16

9

News of the World

Universal

15

10

The Hitman's Wife's Bodyguard

Lionsgate

14

11

F9: The Fast Saga

Universal

14

12Free Guy

Disney14

13

A Quiet Place: Part II

Paramount

14

14

Let Him Go

Universal

13

15

Monster Hunter

Sony

13

16

Lord of the Rings - The Motion Picture Trilogy

Warner Bros.

13

17

Greenland

Warner Bros.

13

18

Promising Young Woman

Universal

12

19

The Marksman

Open Road Films

12

20

Rick and Morty: S5

Warner Bros.

12

20 Digital Entertainment Group Watched at Home Top 20 includes U.S. digital sales (EST), digital rentals (VOD), DVD & Blu-ray sales assembled with the newest

studio and retailer/platform data every seven days. This data does not include premium VOD (PVOD).
21 Weekly top 20 lists pulled from The Numbers covering 53 weeks of 2021, from week closing January 2, 2021 to week closing January 1, 2022. Frequencies

compiled by MPA.

2021 THEME Report | U.S. Top 20 Watched at Home

Page 18

U.S. Online Views & Transactions

Online video content viewing continued its upward trend in 2021, reaching 352.9 billion views/transactions in
the United States, a six percent increase compared to 2020. Online movie views/transactions increased by 15
percent and TV views/transactions increased by 5 percent compared to 2020. There are more than 135 online
services providing movies and television shows to U.S. consumers.
U.S. Online Views & Transactions (Billions)
Source: Omdia

Online movie views/transactions

Online TV views/transactions

400
352.9

350

333.7

300
250
201.4
200

164.4

150

319.0

304.2

130.6
186.3

100

152.3

120.0
50

10.6
2017

15.1

12.1

0
2018

2019

29.5

33.9

2020

2021

2017

2018

2019

2020

2021

21 vs.
20

Online movie views/transactions22

10.6

12.1

15.1

29.5

33.9

15%

Online TV views/transactions23

120.0

152.3

186.3

304.2

319.0

5%

Total

130.6

164.4

201.4

333.7

352.9

6%

22 Online movie views/transactions includes views from subscription services (including virtual pay TV), and digital transactions. Previous years’ estimates may be

updated based on changes made by source.
23 Online TV views/transactions includes subscription services (including virtual pay TV), and digital transactions. Previous years’ estimates may be updated basedon changes made by source. Previous years had included free to view via pay TV services but current figures do not.

2021 THEME Report | U.S. Online Views & Transactions

Page 19

U.S. Pay TV & Online Video Subscriptions

In 2021, the number of online video subscriptions in the United States increased to 353.2 million, up 14 percent
from 2020. The number of virtual pay TV subscriptions increased to 14.5 million, up 18 percent from 2020.
Households with more than one type of subscription service are counted in each of the categories to which
they subscribe. For example, the majority of households have both pay TV and online subscriptions 24 and arecounted in both categories.
U.S. Pay TV & Online Video Subscriptions (Millions)25
Source: Omdia

400
350

300

Online Video

250

Cable

200

Satellite

150

Virtual Pay TV

100

IPTV

50
0
2017

2018

2019

2020

2021

The pay TV subscription market (excluding online video subscriptions) was $96.7 billion in the United States in
2021. Cable, the largest subscription revenue market, was $49.0 billion in 2021, down three percent compared
to 2020. Online video surpassed satellite to become the second largest subscription revenue market, with anincrease of 24 percent to $40.2 billion in 2021.
U.S. Pay TV & Online Video Subscription Markets (US$ Billions)25, 26
Source: Omdia

$60
$50
$40
$30

$20
$10
$0
2017

2018
Cable

Satellite

2019
Online Video

2020
IPTV

2021

Virtual Pay TV

24 Ampere Analysis graph (10/24/18), “SVoD-only households vs. pay TV-only households.” Retrieved from https://www.ampereanalysis.com/blog/aaee9a6c-e7eb-

496c-bedc-e9e36f78ce1f
25 Online video subscription includes Channel (e.g. SVOD), Multiscreen (e.g. TV Everywhere), and N/A (Others), and excludes Virtual Pay TV as well as theadvertising-based and online transactional markets. Virtual Pay TV includes services such as AT&T Now and Hulu Live TV. Online and Virtual Pay TV both include
movies, sports, and TV. Previous years’ estimates may be updated based on changes made by source.
26 Market includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers included are basic,

extended basic, premium, and a la carte. Previous years’ estimates may be updated based on changes made by source.

2021 THEME Report | U.S. Pay TV & Online Video Subscriptions

Page 20

U.S. Top 10 Streaming Series

U.S. Top 10 Streaming Original Series27
Source: Nielsen

Rank

Title

SVOD
Provider(s)# of Episodes

Minutes Streamed(Nearest Millions)1

Lucifer

Netflix

93

18,342

2

Squid Game

Netflix

9

16,432

3

Great British Baking Show

Netflix

75

13,636

4

Virgin River

Netflix

30

12,9085

Bridgerton

Netflix

8

12,356

6You

Netflix

30

11,124

7

Cobra Kai

Netflix

30

10,915

8

The Crown

Netflix

40

9,651

9

Longmire

Netflix

63

8,892

10

The Handmaid’s Tale

Hulu

46

8,564

U.S. Top 10 Streaming Acquired Series27
Source: Nielsen

Rank

Title

SVOD
Provider(s)# of Episodes

Minutes Streamed(Nearest Millions)1

Criminal Minds

Netflix

322

33,8652

Cocomelon

Netflix

15

33,2783

Grey's Anatomy

Netflix

382

32,625

4

NCIS

Netflix

354

29,5295Heartland

Netflix

215

20,4106

Manifest

Netflix

42

19,923

7

Supernatural

Netflix

329

18,912

8

Schitt's Creek

Netflix

80

18,0629Gilmore Girls

Netflix

153

14,704

10

New Girl

Netflix

146

14,68027 Nielsen SVOD Content Ratings (Netflix, Amazon Prime, Disney+ and Hulu), Nielsen TV Panel, U.S. Viewing through Television. U.S. persons aged 2+, total

minutes viewed during 2021 (12/28/2020-12/26/21).

2021 THEME Report | U.S. Top 10 Streaming Series

Page 21

U.S. Top 10 Streaming Films

U.S. Top 10 Streaming Films28
Source: Nielsen

Rank

Title

SVOD
Provider(s)Minutes Streamed (Nearest
Millions)

1

Luca (2021)

Disney+10,592

2

Moana

Disney+8,896

3Raya and the Last Dragon

Disney+8,343

4

Frozen II

Disney+5,746

5

Red Notice

Netflix

5,528

6

FrozenDisney+5,1467Soul (2020)

Disney+5,282

8

CruellaDisney+5,1749Mitchells vs. The Machines

Netflix

4,517

10Jungle Cruise

Disney+4,425

28 Nielsen SVOD Content Ratings (Netflix, Amazon Prime, Disney+ and Hulu), Nielsen TV Panel, U.S. Viewing through Television. U.S. persons aged 2+, total

minutes viewed during 2021 (12/28/2020-12/26/21).

2021 THEME Report | U.S. Top 10 Streaming Films

Page 22

Original Series

In 2021, there were 559 original scripted series released on broadcast, pay TV, and online services aimed at
U.S. audiences, according to FX Networks Research, a 13 percent increase compared to 2020.
Estimated Number of Scripted Original Series29
Source: FX Networks Research

559

600
500

487

496

532

2017

2018

2019

493

2020

400
300
200
100
0
2021

Expanding the analysis to include additional categories of original series (unscripted shows, children’s
programs, and daytime dramas) released, there were 1,826 total original series in 2021. This was up 15
percent from 2020, when many series skipped seasons due to pandemic-related production delays. The
increase was driven by original series released on online services, which reached 693 in 2021, a 54 percent
increase compared to 2020.
Estimated Number of Total Original Series30
2,000
1,826
1,671
1,646
1,609
1,589
217
1,500
693
347
308
451
245
234
235
228
246
1,000

500

1,209

1,067

1,064

2018

2019

910

887

2020

2021

0
2017

Pay TV

Broadcast

Online Services

29 Estimated by FX Networks Research as of January 2022 based on third party data covering broadcast, cable and online outlets. Excludes library, daytime dramas,

one-episode specials, non-English language/English-dubbed, children’s programs, and short form content (<15 mins). See, e.g. Schneider, Michael, Peak TV
Tally: According to FX Research, A Record 559 Original Scripted Series Aired in 2021 Variety, 1/14/2022.
30 These estimates reflect full-length original scripted and unscripted series in the English language released in the reported year, by a U.S. production company(including co-productions). Compiled based on a number of sources, including MPA member studios, film offices, and third party sources, including Ampere
Analysis and Variety Insight. In addition to FX coverage, these estimates include the following content types: daytime dramas, children’s programs, andunscripted series including news and talk shows. Multiple seasons in one year for a series are counted only once. Previous years’ estimates are updated as more
information becomes available.

2021 THEME Report | Original Series Production

Page 23

Online Exclusive Films

In 2021, there were 179 original films exclusive to online streaming services, comparable to 2020.
Estimated Number of Online Exclusive Films31
Source: Ampere

200
180

179

179

2020

2021

160
140
113

120
100

93

101

80
60
40

20
0
2017

2018

2019

31 These estimates reflect full-length (greater than 70 minutes) original films that were released exclusively in the U.S. on the following streaming services available

in the U.S.: Amazon Prime Video, Apple TV+, Disney+, HBO Max, Hulu, Netflix, Paramount+, Peacock, Roku, Showtime, and Starz. Films with any theatricalrelease, including limited release are not included.

2021 THEME Report | Original Series Production

Page 24

U.S. Average Time Spent with Video

In 2021, the time U.S. adults spent per day watching TV (live or recorded) decreased by 17 minutes to 3 hours
and 16 minutes compared to 2020. The time U.S. adults spent per day watching video on other connected
devices, such as an app on a smart TV or a streaming device, increased 6 minutes to 1 hour and 11 minutes in
2021.
Average Time Spent per Day with Video by U.S. Adults (Minutes)32
Source: eMarketer

2017

2018

2019

2020

2021

250
200
150

100
50
0
TV

Desktop/laptop video

Mobile video

Other connected device
video

In 2021, 57 percent of time spent watching video was via TV (live or recorded), the highest share of any
device, but the share was down three percentage points compared to 2020. The share via other connected
devices was 21 percent, up from 18 percent in 2020. The time spent per day watching subscription over-thetop (OTT) video increased nine percent to 79.8 minutes.

2021 Average Time Spent per Day with Videoby U.S. Adults (Minutes)32
Source: eMarketer

Mobilevideo
15%
Desktop/laptop
video
7%
TV
57%

Other
connected
device video
21%

32 If two or more devices are being used at the same time, time is counted for all devices. Other connected devices includes game consoles, smart TVs, and devices

such as Chromecast and Roku. Subscription OTT video includes time spent watching video via any app or website that provides paid subscription access tostreaming video content over the internet, and bypasses traditional distribution (e.g. Netflix, HBO Now, Hulu, etc.). Previous years’ estimates may be updated
based on changes made by source.

2021 THEME Report | U.S. Average Time Spent with Video

Page 25

Frequency of Home/Mobile Viewing: All
Adults/All Devices

In 2021, approximately 80 percent of U.S. adults watched movies and shows/series via traditional television
services and online subscription services, the highest proportion of the home/mobile viewing methods. The
percent using online subscription services and traditional television services was similar to 2020. Theseviewing methods also had the highest share of daily viewers (just over 20% of the population).
Viewing via online Electronic Sell-Through (EST)/video-on-demand (VOD) services decreased in 2021, with 52
percent of U.S. adults watching movies on EST/VOD in 2021, down from 54 percent in 2020. In 2021, 60
percent of adults who viewed movies via EST/VOD also paid to rent movies not released or newly released inmovie theaters (PVOD).33
2021 Share of Population Viewing Movies by Home/Mobile Distribution Channel34
Every daySeveral times a week

Pay TV

20%

OnlineSubscription

21%

EST/VOD

Physical Disc

20%

7%

5%

7%

0%

2-3 times a month or less

12%

25%

5% 7%

8%

Once a week

27%

12%

21%

24%

33%

18%

48%

36%

20%

Never

44%

40%

60%

80%

100%

2021 Share of Population Viewing TV Shows/Series by Home/Mobile Distribution Channel34
Every daySeveral times a week

Pay TV

22%

Online Subscription

22%

EST/VOD

6%

8%

Physical Disc 4% 8%0%Once a week
21%

11%

25%

7%

7%
20%

2-3 times a month or less
24%

11%

22%

22%

27%

52%

29%

52%
40%

60%

Never

20%

80%

100%

33 In the 2020 survey, a question was added to measure how many users of EST/VOD viewed a movie via Premium VOD (PVOD).
34 Pay TV includes regular television services (broadcast, cable and satellite), premium channels and pay-per-view through those services.

2021 THEME Report | Frequency of Home/Mobile Viewing: All Adults/All Devices

Page 27

Home/Mobile Viewing: COVID-19 Impact

Home/mobile viewers reported that they increased viewing via all methods during the COVID-19 pandemic
period. The largest number, more than half of adults (53%), reported that their viewing of movies orshows/series via online subscription services increased over the period of the COVID-19 pandemic, with a netincrease of 45 percent when accounting for those who reported a decrease in viewing. Pay TV also had a netincrease in viewing of 30 percent (42% reported an increase), followed by EST/VOD (15% net increase) andphysical disc (1% net increase).
Increase in Home/Mobile Adult Viewing Over the COVID-19 Pandemic Period(% of all adults 18+)
Increased a lot
Pay TV

Increased a little

20%

Online Subscription

31%

EST/VOD

13%

Physical Disc
0%

22%

17%

9%

+45%*

+15%*

+1%*

13%
10%

+30%*

22%

20%

30%

40%

50%

60%

*Percentage represents the difference between those who said viewing increased a lot or a little and those
who said viewing decreased a lot or a little.

2021 THEME Report | Home/Mobile Viewing: COVID-19 Impact

Page 28

Home/Mobile Viewing Demographics:
All Viewers

In 2021, the gender composition of home/mobile viewers of all frequencies was generally similar to the population,although physical disc adult viewers skewed slightly more toward men.

2021 Gender Share of Adult Population and Home/Mobile Viewers
Male
FemalePopulation
48%
52%
Pay TV

49%

51%

Online Subscription

48%

52%

EST/VOD

50%

50%

Physical Disc

53%

47%

0%

25%

50%

75%

100%

In 2021, the age group representation of viewers of traditional TV services was the same as the population. The 25-39 age
group was overrepresented in terms of viewers in the distribution channels of EST/VOD (36%), online subscriptions (30%),
and physical discs (32%), relative to their share of the population (26%), similar to 2020.

2021 Age Group Share of Adult Population and Home/Mobile Viewers
18-24
25-39
40-49
50-59
60+
Population

11%

26%

16%

16%

31%

Pay TV

11%

26%

16%

16%

31%

Online Subscription

13%

EST/VOD

15%

Physical Disc

13%
0%

10%

30%

17%

15%

36%

19%

32%
20%

30%

18%
40%

50%

25%
13%

17%

15%
60%

70%

22%
80%

90%

100%

In 2021, the Hispanic/Latino category was overrepresented in terms of reported EST/VOD (20%) viewing relative to theirshare of the adult population (17%). All shares were similar to those in 2020.

2021 Ethnicity Share of Adult Population and Home/Mobile Viewers
Caucasian/White

African-American/Black

Hispanic/Latino

Asian

Other

Population

63%

12%

17%

6%

2%

Pay TV

62%

12%

18%

6%

2%

Online Subscription

60%

13%

18%

6%

3%

EST/VOD

59%

13%

20%

6%

2%

Physical Disc

62%

11%

19%

5%

3%

0%

10%

20%

30%

40%

50%

2021 THEME Report | Home/Mobile Viewing Demographics: All Viewers

60%

70%

80%

90%

100%

Page 29

Home/Mobile Viewing Demographics:
Trends in All Viewers

In 2021, the gender composition of all home/mobile viewers was the same as the population composition,
consistent with 2020.
Trend in Gender Share of All Home/Mobile Viewers35
2018
60%

48%

48%

48%

2019

2020

2021
52%

48%

52%

52%

52%

40%
20%
0%
Male
Female
The age group representation of all home/mobile viewers has remained relatively consistent since 2018.
Trend in Age Group Share of All Home/Mobile Viewers35
2018
35%
30%
25%
20%
15%
10%
5%
0%

2019

2020

2021
28%28%29%

27%27%27%27%

12%12%12%11%

18-24

16%16%15%16%

17%17%17%16%

40-49

50-59

25-39

30%

60+

In 2021, the share of all home/mobile viewers by ethnicity was consistent with previous years.
Trend in Ethnicity Share of All Home/Mobile Viewers35
2018
70%
60%
50%
40%
30%
20%
10%
0%

2019

2020

2021

64%63%63%62%

12%12%12%12%

Caucasian/White

African-American/
Black16%17%17%17%

Hispanic/Latino

2021 THEME Report | Home/Mobile Viewing Demographics: Trends in All Viewers

6% 6% 6% 6%

2% 2% 2% 3%

Asian

Other

Page 30

Home/Mobile Viewing Demographics:
Daily Viewers

Focusing on daily viewers, in 2021, the gender composition of online subscription viewers who watch daily skewed slightly
female relative to the population, while the small group of EST/VOD and physical disc daily viewers skewed more male,
relative to the population and similar to 2020.

2021 Gender Share of Adult Population and Daily Home/Mobile Viewers36
Male
FemalePopulation
48%
52%

Pay TV

47%

53%

Online Subscription

46%

54%

EST/VOD
Physical Disc
0%

54%

46%

58%

42%

25%

50%

75%

100%

In 2021, the 25-39 age group was heavily overrepresented in terms of daily viewers to online subscription, EST/VOD, andphysical disc distribution channels, similar to 2020.

2021 Age Group Share of Adult Population and Daily Home/Mobile Viewers36
18-24
25-39
40-49
50-59
60+
Population
11%
26%
16%
16%
31%
Pay TV

8%

Online Subscription

24%

16%

16%

39%

EST/VOD

23%

Physical Disc

20%
0%

18%

10%

34%
19%

48%
49%
20%

30%

40%

50%

12%

14%

18%

6% 5%

17%
60%

70%

80%

8%

6%

90%

100%

In 2021, the Hispanic/Latino category was overrepresented in the population of daily viewers in the distribution channels ofphysical discs (29%), EST/VOD (27%), and online subscriptions (24%) relative to their share of the population (17%),similar to 2020. The African-American/Black category was overrepresented in the EST/VOD distribution channel (20%)
and physical discs (18%) relative to their share of the population (12%), similar to 2020.

2021 Ethnicity Share of Adult Population and Daily Home/Mobile Viewers36
Caucasian/White

African-American/Black

Hispanic/Latino

Asian

Other

Population

63%

12%

17%

6%

Pay TV

61%

15%

18%

4% 2%

Online Subscription

52%

15%

24%

2%

6%

3%

EST/VOD

47%

20%

27%

4% 2%

Physical Disc

48%

18%

29%

3% 2%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

36 Home/mobile viewers on this page refers to the net movie or show/series viewers via any of the following channels: Pay TV, online subscription, EST/VOD orphysical discs.

2021 THEME Report | Home/Mobile Viewing Demographics: Daily Viewers

Page 31

Home/Mobile Viewing Demographics:
Trends in Daily Viewers

In 2021, the gender composition of daily viewers of any home/mobile entertainment viewing method is similar
to the composition of the overall population.
Trend in Gender Share of Daily Home/Mobile Viewers37
2018
60%

47%

46%

47%

2019

2020

2021
54%

46%

53%

53%

54%

40%
20%
0%
Male

FemaleIn 2021, the 25-39 age group had the largest share of daily home/mobile viewers, similar to prior years,
followed by the 60+ age group.

Trend in Age Group Share of Daily Home/Mobile Viewers37
2018
35%
30%
25%
20%
15%
10%
5%
0%

2019

2020

2021

29%28%29%30%

28%27%
26%26%
16%17%17%17%

17%17%17%
15%

40-49

50-59

12%
10%11%11%

18-24

25-39

60+

The Caucasian/White share of daily home/mobile viewers has decreased seven percentage points since 2018,
while the shares of other ethnicity categories have increased.
Trend in Ethnicity Share of Daily Home/Mobile Viewers37
2018
2019
2020
2021
70%
60%
50%
40%
30%
20%
10%
0%

65%63%

61%58%

12%13%13%14%

Caucasian/White

African-American/
Black17%17%18%20%

Hispanic/Latino

4% 4% 5% 5%

2% 3% 3% 3%

Asian

Other

37 Home/mobile viewers on this page refers to the net movie or show/series viewers via any of the following channels: Pay TV, online subscription, EST/VOD orphysical discs.

2021 THEME Report | Home/Mobile Viewing Demographics: Trends in Daily Viewers

Page 32

Frequency of Mobile Viewing:
All Adults and Children

More than 85 percent of U.S. children (ages 2-17) watch full-length shows/series or movies on a mobile device,similar to 2020. Eighteen percent use a mobile device to view shows/series or movies daily. The highest
proportion of children (28%) watch movies or shows/series on mobile devices several times a week.
Sixty percent of U.S. adults watch full-length shows/series and 57 percent watch movies on a mobile device,similar to 2020. The percentage of adults who use a mobile device to watch shows/series daily is 10 percent.
The highest proportion of adults never watch on a mobile device – while those who watch are most likely to doso 2-3 times a month or less, similar to 2020.
2021 Children Mobile Viewing Frequency
Every daySeveral times a week

TV shows or movies

Once a week

18%

0%

28%

10%

20%

30%

2-3 times a month or less

14%

40%

50%

26%

60%

70%

Never

14%

80%

90%

100%

2021 Adult Mobile Viewing Frequency

Every daySeveral times a week

Full-length TV shows

10%

Full-length movies

9%

0%

15%

12%

10%

20%

Once a week

2-3 times a month or less

27%

40%

8%

9%

30%

27%

40%

Never

43%

50%

2021 THEME Report | Frequency of Mobile Viewing: All Adults and Children

60%

70%

80%

90%

100%

Page 33

Mobile Viewing Demographics

In 2021, the gender composition of viewers via a mobile device skewed slightly toward men compared to thetotal population, similar to in 2020.
2021 Gender Share of Population, Mobile Viewers, and Daily Mobile Viewers
Male
FemalePopulation

49%

51%

Mobile Viewers

50%

50%

Daily Mobile Viewers

51%

49%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

In 2021, the 2-11, 12-17, 18-24, and 25-39 age groups were all overrepresented in terms of mobile viewers
and daily mobile viewers relative to their share of the total population.
2021 Age Group Share of Population, Mobile Viewers, and Daily Viewers
2-11
12-17
18-24
25-39
40-49
50-59
60+

Population

13%

Mobile Viewers

16%

10%

Daily Mobile Viewers

16%

10%

0%

8%

10%

9%

20%

21%

12%

13%

27%

14%

16%
30%

12%

34%
40%

50%

24%

10%

11%

12%

60%

70%

80%

7% 5%
90%

100%

In 2021, the Hispanic/Latino (29%) and African-American/Black (18%) categories were overrepresented interms of daily show/series or movie viewers via a mobile device relative to their share of the total population(19% and 12%, respectively), similar to 2020.
2021 Ethnicity Share of Population, Mobile Viewers, and Daily Viewers

Caucasian/White

African-American/Black

Population

60%

Mobile Viewers

Hispanic/Latino

12%

53%

Daily Mobile Viewers

15%

46%
0%

10%

20%

2021 THEME Report | Mobile Viewing Demographics

Asian

18%
30%

40%

50%

60%

70%

Other
6%

3%

23%

6%

3%

29%

3%

4%

19%

80%

90%

100%

Page 34

Trends in Mobile Viewing

In 2021, the gender composition of show/series or movie viewers via a mobile device was an even split, similar
to 2020.
Trend in Gender Share of Mobile Viewers
2019 2020 2021

60%
50%
40%
30%
20%
10%
0%

50%

51%

50%

50%

49%

Male

50%

FemaleIn 2021, the share of mobile viewers by age group remained relatively consistent compared to 2020.
Trend in Age Group Share of Mobile Viewers
2019
30%

2020

2021

27%
25%26%

25%
20%

16%16%16%

15%

10%10%10%

13%13%14%

12%12%12%

12%11%
10%

11%12%11%

50-59

60+

10%
5%
0%
2-11

12-17

18-24

25-39

40-49

The share of mobile viewers by ethnicity also remained relatively consistent compared to 2020.
Trend in Ethnicity Share of Mobile Viewers
2019 2020 2021
60%

53% 54% 53%

50%
40%
30%

22% 22% 23%
14% 14% 15%

20%
10%

7% 7% 6%4% 3% 3%

Asian

Other

0%
Caucasian/White

African-American/
Black2021 THEME Report | Trends in Mobile Viewing

Hispanic/Latino

Page 35

Trends in Daily Mobile Viewing

In 2021, the gender composition of daily show/series or movie viewers remained the same as in 2020.
Trend in Gender Share of Daily Mobile Viewers
2019
60%

51%

51%

2020

2021

51%

49%

49%

49%

40%
20%
0%
Male

FemaleIn 2021, the share of daily mobile viewers increased five percentage points among the 25-39 group compared
to 2020. The share also increased three percentage points among the 18-24 age group.
Trend in Age Group Share of Daily Mobile Viewers
2019

2020

40%

34%
29%
27%

30%
20%

2021

15%16%16%
10%11%10%

16%
15%
13%

13%14%12%

10%

10% 9%

10%
7%

8%
5%

0%
2-11

12-17

18-24

25-39

40-49

50-59

60+

The Hispanic/Latino category share of daily mobile viewers increased four percentage points in 2021.
Trend in Ethnicity Share of Daily Mobile Viewers
2019
60%
50%

2020

2021

46%49%46%

40%

27%25%29%

30%

19%17%18%

20%
10%

5% 5% 3%3% 4% 4%

Asian

Other

0%
Caucasian/White

African-American/
Black2021 THEME Report | Trends in Daily Mobile Viewing

Hispanic/Latino

Page 36

Global Box Office

The global box office market for all films released in each country around the world38 was $21.3 billion in 2021,
up 81 percent compared to 2020, due to theater re-openings following the COVID-19 pandemic lockdowns, but
remained below pre-pandemic levels. The international box office market ($16.8 billion) increased 76 percent,while the U.S./Canada box office market ($4.5 billion) increased 105 percent compared to 2020. Theinternational box office market accounted for 79 percent of the total box office market in 2021.
Global Box Office Market – All Films (US$ Billions)
Source: Comscore, Omdia (International), MPA sources

International
$45
$40.9

U.S./Canada

$41.8

$42.3

$29.9
(72%)

$30.9
(73%)

$40
$35
$30
$29.8
(73%)

$25

$21.3

$20
$15

$11.8

$16.8
(79%)

$10
$11.9

$11.1

$5

$9.6
(81%)

$11.4

$4.5

$2.2

$0
2017

2018

2019

2020

2021

2017

2018

2019

2020

2021

% Change39
21 vs. 20% Change39
21 vs. 17

U.S./Canada40

$11.1

$11.9

$11.4

$2.2

$4.5

105%

-59%

International41

$29.8

$29.9

$30.9

$9.6

$16.8

76%

-44%

Total

$40.9

$41.8

$42.3

$11.8

$21.3

81%

-48%

38 Values in the report reflect all films released, regardless of distributor or country of origin, except where specified as a subset.
39 Percentage change and international share (above) are calculated using values before rounding.
40 Source:

Comscore – Box Office Essentials, calendar year from January 1-December 31.

41 International box office excludes U.S./Canada throughout this report. MPA calculates international box office country-by-country based on a variety of data

sources. Previous years’ estimates may be updated based on changes made by sources.

2021 THEME Report | Global Box Office

Page 38

International Box Office

The Europe, Middle East & Africa (EMEA) box office market increased 53 percent in U.S. dollars over 2020.
This was driven by increases in the U.K. & Ireland (93%), Russia (78%), and France (56%).
The Asia Pacific box office market ($10.9 billion) increased 89 percent in U.S. dollars compared to 2020. Thiswas mostly driven by China’s $4.4 billion increase from 2020.
Latin America’s box office market increased 72 percent in U.S. dollars in 2021, driven by a 104 percent
increase in Mexico and a 17 percent increase in Brazil.
International Box Office Market by Region – All Films (US$ Billions)42
Source: Comscore, Omdia, MPA sources

EMEA

Asia Pacific

$20
$18

$17.8

$17.1

$16.2

Latin America

$16
$14
$12

$10.2

$10.9

$10.3

$10.1

$10
$8

$5.8

$6
$3.4

$4

$2.8

$2.7

$5.0

$3.3

$2

$0.9

$0.5

$0
2017

2018

2019

2020

2021

2017

2018

2019

2020

2021

% Change43
21 vs. 20% Change43
21 vs. 17

Europe, Middle East & Africa

$10.2

$10.1

$10.3

$3.3

$5.0

53%

-51%

Asia Pacific

$16.2

$17.1

$17.8

$5.8

$10.9

89%

-32%

Latin America

$3.4

$2.7

$2.8

$0.5

$0.9

72%

-75%

Total

$29.8

$29.9

$30.9

$9.6

$16.8

76%

-44%

42

43

Box office data is in U.S. dollars for analytical and comparative purposes. Previous years’ estimates may be updated based on changes made by sources. Notethat local currency box office trends may differ due to exchange rate fluctuations.
Percentage change is calculated using table values before rounding.

2021 THEME Report | International Box Office

Page 39

Top International Box Office Markets

Year-end comparisons between country box office totals during the COVID-19 pandemic are challenging as each country’s
box office was affected by the pandemic, and each market’s reactions varied in timing and degree. Each country’s cinemas
closed and re-opened (in some cases more than once) on different schedules, and some countries’ local releases were
postponed while others were not. The graph below provides a high-level view by region of the estimated percentage ofscreens that were closed by week. The view shows that after mid-2020, Asia theaters remained mostly open through thefirst half of 2021, while Europe and North America re-closed in late 2020. The majority of theaters in all regions were open
by mid-2021, but capacity restrictions and other requirements may have remained in place.

Percentage of Cinema Screens Closed by Region, By Week in 202144
Source: Omdia
100%
Asia Pacific90%

Central & Eastern Europe

80%

Central and South America

70%

Middle East and Africa

60%

North America

50%

Western Europe

40%
30%
20%
10%

Week of 10/02/20
Week of 24/02/20
Week of 09/03/20
Week of 23/03/20
Week of 06/04/20
Week of 20/04/20
Week of 04/05/20
Week of 18/05/20
Week of 01/06/20
Week of 15/06/20
Week of 29/06/20
Week of 13/07/20
Week of 27/07/20
Week of 10/08/20
Week of 24/08/20
Week of 07/09/20
Week of 21/09/20
Week of 05/10/20
Week of 19/10/20
Week of 02/11/20
Week of 16/11/20
Week of 30/11/20
Week of 14/12/20
Week of 28/12/20
Week of 11/01/21
Week of 25/01/21
Week of 08/02/21
Week of 22/02/21
Week of 08/03/21
Week of 22/03/21
Week of 05/04/21
Week of 19/04/21
Week of 03/05/21
Week of 17/05/21
Week of 31/05/21
Week of 14/06/21
Week of 28/06/21
Week of 12/07/21
Week of 26/07/21
Week of 09/08/21
Week of 23/08/21
Week of 06/09/21
Week of 20/09/21
Week of 04/10/21
Week of 18/10/21
Week of 01/11/21
Week of 15/11/21
Week of 29/11/21
Week of 13/12/21
Week of 27/12/21

0%

Feb MarApr May

Jun

Jul

Aug

Sep Oct

Nov

Dec Jan Feb

Mar

Apr

May

2020

Jun

Jul

Aug

Sep Oct

Nov

2021

DecJan2022

2021 Top 20 International Box Office Markets – All Films (US$ Billions)
Source: Omdia

Taking into account the caveats regarding
comparisons, the top three box office markets
outside the U.S./Canada in 2021 were China($7.3 billion, including online ticketing fees),
Japan ($1.5 billion), and U.K. ($0.8 billion).
China’s box office total surpassed the
U.S./Canada total in 2021 for the second
time, with the majority of Chinese theaters
staying open through 2021.

44 Omdia, “COVID-19 Impact on Cinema Activity – February 2022.”

1.

China45$7.3

11. Spain

$0.3

2.

Japan

$1.5

12. Italy

$0.2

3.

U.K.

$0.8

13. Taiwan

$0.2

4.

France$0.8

14. Netherlands

$0.2

5.

Russia$0.6

15. Hong Kong

$0.2

6.

South Korea$0.5

16. Brazil

$0.2

7.

India

$0.5

17. UAE$0.1

8.

Australia$0.5

18. Poland

$0.1

9.

Germany$0.4

19. Denmark

$0.1

10.

Mexico$0.4

20. Switzerland$0.1

45 China box office total includes online ticketing fees. The China box office total excluding ticketing fees is no longer made available.

2021 THEME Report | Top International Box Office Markets

Page 40

Global 3D Box Office

Of the total global box office market in 2021, 3D technology represented seven percent, up one percentage
point compared to 2020. The global 3D box office market totaled $1.4 billion in 2021, an increase of 112
percent compared to 2020.
Global 3D Box Office Market – All Films (US$ Billions)46
Source: Omdia, MPA sources

Global 2D

$45
$40.9
$40
$8.4
(21%)

$35

Global 3D

$41.8

$42.3

$6.8
(16%)

$6.5
(15%)

$30
$25

$21.3

$20
$35.8

$35.0

$32.5

$15

$1.4
(7%)

$11.8

$10

$0.7
(6%)

$19.9

$11.1

$5
$0
2017

2018

2019

2020

2021

2017

2018

2019

2020

% Change47
2021 21 vs. 20% Change47
21 vs. 17

Global 2D

$32.5

$35.0

$35.8

$11.1

$19.9

79%

-39%

Global 3D

$8.4

$6.8

$6.5

$0.7

$1.4

112%

-83%

Total

$40.9

$41.8

$42.3

$11.8

$21.3

81%

-48%

46 Box office data is in U.S. dollars for analytical and comparative purposes. Previous years’ estimates may be updated based on changes made by sources. Local

currency box office trends may differ due to exchange rate fluctuations.
47 Percentage change and share of total box office is calculated using table values before rounding.

2021 THEME Report | Global 3D Box Office

Page 41

Global Cinema Screens

Total cinema screens increased four percent globally in 2021, due to a seven percent increase in the Asia
Pacific region.
2021 Global Cinema Screens by Format and Region48
Source: Omdia

Unclassified 49

Digital Non 3D

120,000

Digital 3D
110,989

100,000
80,00084,39360,00040,00020,00043,64645,556

14,706

21,297

27,176

23,6971,764

562

22,087

15,146
5,959
8,722

4,509

0
U.S./Canada

EMEA

Asia Pacific465

Latin America

Global Digital Screens
Source: Omdia

International

U.S./Canada

220,000
195,813200,000
180,000

208,037

200,981

182,266
169,455
122%

160,000
140,000
120,000
100,000

80,000152,134(78%)

158,358(79%)

166,155(80%)

126,239(74%)

138,807(76%)

43,21643,45943,67942,62341,882

2017

2018

2019

2020

2021

60,00040,00020,0000

48 2021 total screens figures are estimates as of February 2022. Previous years’ estimates may be updated based on changes made by source.
49 Omdia screens data collection has been affected by pandemic theater closures, which have impacted classification of screens in 2020 and 2021. The“Unclassified” category includes all screens that were not able to be classified as digital.

2021 THEME Report | Global Cinema Screens

Page 42Global 3D Cinema Screens

The number of digital 3D screens around the world surpassed 126,000 in 2021, an increase of five percent
compared to 2020. They account for 61 percent of all digital screens globally. The Asia Pacific region had aneight percent increase in the number of digital 3D screens in 2021. Asia Pacific continues to have the highest
ratio of 3D digital screens to digital screens – more than three out of four digital screens in Asia Pacific are 3D.
The number of digital 3D screens in U.S./Canada decreased for the fourth straight year, with a three percent
decrease compared to 2020.
Global Digital 3D Screens50
Source: Omdia

U.S./Canada

201716,9782018
16,972

2019
16,5862020
15,0892021
2021 % of digital
14,70635%

EMEA

19,15920,711

20,884

20,713

21,297

47%

Asia Pacific

51,66162,93773,21578,42384,39379%

Latin America

5,619

5,818

6,071

6,059

5,959

41%

Total

93,417

106,438

116,756

120,284

126,355

61%

13%

14%

10%

3%

5%

% change vs. previous year

50 Previous years’ estimates may be updated based on changes made by source.

2021 THEME Report | Global 3D Cinema Screens

Page 43

U.S./Canada Box Office & Admissions

In 2021, the U.S./Canada box office market was $4.5 billion, up 105 percent from $2.2 billion in 2020.51 However, itremained below pre-pandemic levels. Admissions, or tickets sold (0.47 billion), were up 100 percent compared to 2020.

U.S./Canada Box Office Market (US$ Billions)
Source: Comscore Box Office Essentials

$12

$10.9

$10.8

$11.4

$11.1
$10.4

$11.9

$11.1

$11.4

$10
$8
$6

$4.5

$4
$2.2
$2
$0

2014

2015

2016

2017

2018

2019

2020

% Chg.
2021 21 vs. 20

$10.8

$10.9

$10.4

$11.1

$11.4

$11.1

$11.9

$11.4

$2.2

$4.5

Admissions (Billions)

1.80

Admissions (Billions)

2013

105%

Admissions per capita

6.0

1.60
1.40

1.36

1.34

1.27

1.32

1.32

1.24

5.0

1.30

1.24

1.20

4.0

1.00

3.0

0.80
0.60

2.0

0.47
0.24

0.40

1.0

0.20
0.00

Admissions per capita

U.S./Can. box office(US$B)

2012

0.0
2012

2013

2014

2015

2016

2017

2018

2019

2020

2021

2012

2013

2014

2015

2016

2017

2018

2019

2020

% Chg.
2021 21 vs. 20

U.S./Can. admissions (Billions)52

1.36

1.34

1.27

1.32

1.32

1.24

1.30

1.24

0.24

0.47 100%

U.S./Can. admissions per capita53

4.1

4.0

3.7

3.8

3.8

3.6

3.7

3.5

0.7

1.3

91%

51 Percentage change is calculated using table values before rounding.
52Admissions is calculated using Comscore – Box Office Essentials calendar year box office data, and National Association of Theatre Owners (NATO) averageannual ticket price. For 2021, ticket price ($9.57) was calculated based on the average annual change in ticket price over the past five years.
53 Admissions per capita is calculated using aggregated U.S. Census Bureau and Statistics Canada data for population aged 2+.

2021 THEME Report | U.S./Canada Box Office & Admissions

Page 45

Films Rated & Released

In 2021, the Motion Picture Association’s Classification and Ratings Administration (CARA) rated 498 films(including non-theatrical films), a similar amount to 2020. The number of MPA member films rated was 185(37%) in 2021, while the number of non-MPA member films rated was 313 (63%).

Film Ratings54
Source: CARAThe number of films released in theaters in U.S./Canada was 387 in 2021, up 14 percent from 2020, but below
pre-pandemic levels. Non-MPA affiliated independent companies continue to release the most films
domestically (291), and were up five percent compared to 2020. MPA member films released domestically (96)were up 60 percent compared to 2020.

Films Released56
Source: Comscore – Box Office Essentials (Total), MPA (Subtotals)

2012
691
672
18
1

2013
681
669
10
2

2014
764
749
14
1

2015
755
735
14
6

2016
801
767
24
10

2017
872
775
49
48

2018
862
738
56
68

2019
987
860
67
60

2020
338
319
10
9

2021
387
370
12
5

- Large format releases- 3D film releases- 3D wide release films

23
39
33

28
43
35

27
42
31

30
35
28

33
45
37

38
40
35

49
33
28

42
33
27

11
3
3

18
9
9

MPA member total- MPA studios- MPA studio subsidiaries
Non-members

128
94
34
563

114
84
30
567

135
99
36
629

147
100
47
608

144
102
42
657

130
86
44
742

128
92
36
734

124
83
41
863

60
34
26
278

96
58
38
291

Films released- New feature films57- Re-releases57- Non-feature films57

54 Note that films may be rated or re-rated months or even years after production. Includes non-theatrical films.
55 MPA members include: Walt Disney Studios Motion Pictures, Netflix, Inc., Paramount Pictures Corporation, Sony Pictures Entertainment, Inc., Universal City

Studios LLC, and Warner Bros. Entertainment Inc. Netflix included as an MPA member as of 2019 – therefore, comparisons are not feasible.
56 Source: Comscore – Box Office Essentials. Includes all titles that opened and earned any studio reported U.S./Canada box office in the year. Historical data isregularly updated by Comscore.
57 New feature films includes films released domestically for the first time, while re-releases includes any film released for the first time in previous years including

anniversary releases and double-features. Non-feature films includes Oscar shorts, TV shows, and event showings.

2021 THEME Report | Films Rated & Released

Page 46

Films Produced

In 2021, the estimated number of U.S. films that entered into production was 943, an increase of 111 percent
compared to 2020, when production was shut down due to the COVID-19 pandemic. Of these films, 226 films
had an estimated budget greater than $15 million, a 124 percent increase compared to 2020 and a 40 percent
increase compared to 2017.
In 2021, 202 MPA member studio films entered into production, a 135 percent increase compared 2020, while
741 non-MPA member studio films entered into production, a 105 percent increase compared to 2020.
Feature Films Entering Production58% Change 21
vs. 2060

2017

2018

2019

2020 202159

Films produced (est. $15M+ budget)

162

171

178

101

226

124%

Films produced (est. $1M-$15M budget)

387

405

423

240

470

93%

Films produced (est. <$1M budget)

263

232

213

102

247

140%

Total films (all budgets)

812

808

814

443

943

111%

MPA member sub-total

108

107

173

82

202

135%

Non-MPA member sub-total

704

701

641

361

741

105%

58 These figures reflect full-length feature films in the English language that began production in the reported year, by a U.S. production company (including co-productions). The counts include films that were made for or by an online video service, but do not include student films, documentaries, films created for straightto-DVD or Blu-ray release. The number for lower-budget films is variable and more difficult to track. Budgets are estimated from publicly available information. In
the interest of accuracy, MPA compiles data from a wide range of sources.
59 Data is provisional as of February 2021. Figures may be revised as more information becomes available. Netflix was added as a member in the 2019 count, past
years include MPA member studios at that time.
60 Percentage change is calculated using table values before rounding.

2021 THEME Report | Films Produced

Page 47

Top 25 Films

Films with an PG-13 rating comprised 14 of the top 25 films in release during 2021, more than any other rating,and up from 2020 (8). In 2021, the top 25 films accounted for 71 percent of the total box office market, downfrom 75 percent in 2020.
Top 25 Films by U.S./Canada Box Office Market in 2021
Source: Comscore – Box Office Essentials, CARA (Rating)

Rank
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21

22
23
24
25

Title
Spider-Man: No Way Home*
Shang-Chi and the Legend of the Ten Rings
Venom: Let There Be Carnage
Black Widow
F9: The Fast Saga
Eternals
No Time To Die
Quiet Place Part II, A
Ghostbusters: Afterlife
Free Guy
Jungle Cruise
Dune
Godzilla vs. Kong
Halloween Kills
Encanto
CruellaSing 2*
Space Jam: A New Legacy
Conjuring: The Devil Made Me Do It, The
Candyman
Boss Baby: Family Business, The

Addams Family 2, The
Suicide Squad, The
Raya And The Last Dragon
Demon Slayer the Movie: Mugen Train

Distributor
Sony
DisneySony
DisneyUniversal
DisneyUnited Artists
ReleasingParamountSony
20th Century
Studios
DisneyWarner Bros.
Warner Bros.
Universal
DisneyDisneyUniversal
Warner Bros.
Warner Bros.
Universal
Universal
United Artists
ReleasingWarner Bros.
DisneyFUNimation Films

Box Office(US$ MM)
573.0
224.5
212.6
183.7
173.0
164.6

Rating 3D
PG13
✓
PG13
✓
PG13
✓
PG13
✓
PG13
PG13
✓

160.8

PG13

160.2
122.4

PG13
PG13

121.6

PG13

✓

117.0
107.2
100.9
92.0
90.6
86.1
76.5
70.6
65.6
61.2
57.3

PG13
PG13
PG13
R
PG
PG13
PG
PG
R
R
PG

✓
✓
✓

56.5

PG

55.8
54.7
49.4

R
PG
R

✓
✓

✓

✓

* Film still in theaters in 2022; total reflects box office earned from Jan. 1 – Dec. 31, 2021

2021 THEME Report | Top 25 Films

Page 48

Top Film Demographics by Gender

Comscore and Screen Engine/ASI’s PostTrak collects domestic survey data for all films in release in at least
800 theaters, which links box office grosses to gender and ethnicity of attendees. The surveys are conductedduring the first two weeks of a film’s wide release.61
The top five films of 2021 attracted majority male audiences, with F9: The Fast Saga (67%), Venom: Let There
Be Carnage (60%), Spider-Man: No Way Home (59%) and Shang-Chi and the Legend of the Ten Rings (57%)
skewing more male relative to the survey average (56%).
2021 Gender Share of Top Grossing Films62
Source: Comscore/Screen Engine/ASI

MaleFemaleSpider-Man: No Way Home

59%

41%

Shang-Chi and the Legend of the Ten Rings

57%

43%

Venom: Let There Be Carnage

60%

40%

Black Widow

55%

F9: The Fast Saga

45%

67%

Survey Average

41%

56%

0%

20%

45%

40%

60%

80%

100%

61 More details about PostTrak’s methodology can be found in the Appendix.
62 Percentage values in table may not sum to 100 percent due to rounding.

2021 THEME Report | Top Film Demographics by Gender

Page 49

Top Film Demographics by Ethnicity

According to Comscore and Screen Engine/ASI’s PostTrak, among the top grossing films, F9: The Fast Sagadrew the most ethnically diverse audience, followed by Spider-Man: No Way Home.
The audience of F9: The Fast Saga was 37 percent Hispanic/Latino, nine percentage points higher than thesurvey average.
2021 Ethnicity Share of Top Grossing Films63
Source: Comscore/Screen Engine/ASI

Caucasian/White

Hispanic/Latino

African-American/Black

Asian/Pacific Islander

Spider-Man: No Way Home

39%

28%

Shang-Chi and the Legend of the Ten Rings

42%

20%

Venom: Let There Be Carnage

43%Black Widow

31%

26%

37%

Survey Average

37%

45%

0%

20%

16%

15%

52%

F9: The Fast Saga

40%

Native American/Other

12% 6%

19%

15%

5%

7%4%

13% 6%3%

17%

7%3%

28%

15%

9% 4%

60%

80%

100%

63 Percentage values in table may not sum to 100 percent due to rounding.

2021 THEME Report | Top Film Demographics by Ethnicity

Page 50

U.S. Cinema Screens

The number of screens in the United States decreased one percent in 2021 compared to 2020. Digital non-3D
screens account for 63% of all screens, the same as 2020.
U.S. Screens by Type64
Source: Omdia

Unclassified
45,00040,00035,00040,39340,837

15,53015,511

24,57924,80665

Digital non-3D

Digital 3D

41,17240,99840,57815,136

13,652

13,29225,432

25,91625,580

1,430
2020

1,706
2021

30,00025,00020,00015,00010,000
5,000

284

604

520

2017

2018

2019

64 Previous years’ estimates may be updated based on changes made by source
65 Omdia screens data collection has been affected by pandemic theater closures which have impacted classification of screens in 2020 and 2021. The “Unclassified”

category includes all screens that were not able to be classified as digital.
.

2021 THEME Report | U.S. Cinema Screens

Page 51

Theatrical Attendance Demographics

Just under half (47%) of the U.S./Canada population aged two or older, or 168 million people, went to amovie at the cinema at least once in 2021 (“moviegoer”). The percentage was about the same as 2020and down from pre-pandemic levels (76 percent of the population). The typical moviegoer bought 2.8
tickets per year in 2021, up from 1.5 tickets in 2020.
U.S./Canada Population
ages 2+ (356.2M)

U.S./Canada
Admissions

2021 Demographic Summary66

In 2021, only three percent of the U.S./Canada population were frequent moviegoers who attended the cinema
once a month or more, the same as 2020 and down from 2019 (11%). These individuals were responsible for34 percent of all tickets sold. More than half (60%) of tickets sold were to occasional moviegoers (32% of the
population) while the other six percent were sold to infrequent moviegoers (12% of the population). More thanhalf of the population did not attend the cinema in 2021 (53%).
2021 Moviegoer Share of Population and Tickets Sold
U.S./Canada Population
ages 2+
Nonmoviegoers,
53%

U.S./Canada
Tickets Sold

Infrequent,12%

Frequent,
3%

Infrequent,6%Frequent,
34%

Occasional,
60%

Occasional,
32%
Frequency definitions:
Frequent: Once a month or more
Occasional: Less than once a month
Infrequent: Once in 12 months

66 MPA’s analysis of attendance demographics is based on survey research and attendance projections by ENGINE. See Appendix for details. Surveying is

conducted in the United States only, so the results assume the demographic composition of the U.S./Canada combined population is similar to U.S. only. In the2017 survey, the methodology was changed to online survey only, so comparisons prior to 2017 are not feasible.

2021 THEME Report | Theatrical Attendance Demographics

Page 53Theatrical Demographic Shares

The gender composition of moviegoers (people who went to a movie at the cinema at least once in the year)
and number of tickets sold skewed toward men in 2021 relative to the population share.
2021 Gender Share of Total Population, Moviegoers, and Tickets Sold
FemalePopulation

Male

51%

Moviegoers

49%

47%

Tickets sold

53%

41%
0%

59%

25%

50%

75%

100%

In 2021, the 12-17 (14%), 18-24 (14%) and 25-39 (29%) age groups were overrepresented in terms of tickets
sold relative to their share of the population, with a decrease in the share of tickets sold to the 50+ age group.
2021 Age Group Share of Total Population, Moviegoers, and Tickets Sold

2-11

12-17

8%

9%

18-24

25-39

40-49

Population

13%

Moviegoers

16%

12%

14%

26%

Tickets sold

14%

14%

14%

29%

0%

21%

20%

50-59

13%

40%

60+

12%

24%

13%

9%

13%

60%

10%

7%

9%

80%

100%

In 2021, the Hispanic/Latino category was overrepresented in share of moviegoers (24%) and movie tickets
purchased (23%).
2021 Ethnicity Share of Total Population, Moviegoers, and Tickets Sold
Caucasian/White

African-American/Black

Population

Hispanic/Latino

60%

Moviegoers

54%

Tickets sold

57%
0%

10%

20%

30%

12%
13%

2021 THEME Report | Theatrical Demographic Shares

50%

60%

19%
24%

12%
40%

Asian

Other
6% 3%
6% 3%

23%
70%

80%

5% 3%
90%

100%

Page 54Theatrical Per Capita Attendance

In 2021, per capita annual movie attendance (tickets sold per person) increased for both females (1.1) andmales (1.6) against 2020.
Per Capita Attendance by Gender
2017
2018
2019
2020
2021
5.0
4.0
3.9
3.7
4.0
3.5
3.4
3.2
3.0
1.6

2.0

1.1

0.8

0.6

1.0
0.0
FemaleMale

In 2021, only the 12-17 age group (2.5 times) had a per capita attendance over 2.0. All age groups increased
their per capita attendance in 2021 compared to 2020.
Per Capita Attendance by Age
6.0
5.0
4.0
3.0

2017

5.1
4.9 4.9

2018

2019

5.1
4.7 4.7

2020

4.3
4.4
4.2

4.3 4.2
3.6

3.0
2.9 2.9

1.0

3.2
3.0 2.9

2.5
2.5
2.3

2.5
2.0

2.0

2021

1.5
0.8

1.1

1.9
1.4
0.7

0.9

0.9

0.5

0.7
0.3

0.5

0.0

2-11

12-17

18-24

25-39

40-49

50-59

60+

The per capita attendance of all ethnicity categories increased in 2021 when compared to 2020. The
Hispanic/Latino category had the highest per capita attendance in 2021, going to the cinema an average of 1.7
times in the year.
Per Capita Attendance by Ethnicity
2017

2018

2020

4.5 4.7 4.7

5.0
4.0

2019

3.4

3.2 3.3 3.2

2021
4.3 4.5 4.1

4.2 4.0

3.7

3.4

3.2

3.0
2.0
1.0

0.5

1.7

1.3

1.3

1.0

0.7

0.7

1.1

1.0
0.5

0.0
Caucasian/ White

African-American/
Black

Hispanic/ Latino

2021 THEME Report | Theatrical Per Capita Attendance

Asian

Other

Page 55

Section Title (Montserrat Bold, 16 pt.)Glossary of Terms

THEME Report: Glossary of Terms

2021 THEME Report | Glossary of Terms

Page 57

Demographic Survey Methodology

Attendance Demographics Study Methodology
Survey research
The Motion Picture Association (MPA) commissioned ENGINE (formerly ORC International) to study motion
picture cinema attendance in the United States. A survey was conducted among a representative sample of
8,074 adults, comprising 4,030 men and 4,044 women, 18 years of age and older living in the United States.
Interviewing was conducted beginning January 3, 2022 and ending January 16, 2022 via eight consecutive
waves of CARAVAN®, ENGINE’s national online omnibus survey. Respondents for the survey were selectedfrom among those who have volunteered to participate in online surveys and polls.
This year marks the fifth time interviewing was completed via an online methodology. In all waves of the study
prior to 2018, interviews were conducted via a dual frame landline/cell phone telephone methodology. The
transition to online was made due to the increasing difficulty of reaching respondents on the telephone. As aresult, phone data collection has become more impractical for the purpose of measuring annual movie
attendance and could potentially lead to less accuracy in the data results among smaller demographic groups.
Due to the change in methodology and the differing demographic profiles of online versus telephone
respondents, only comparisons to 2017, 2018, 2019, and 2020 have been made in this report.
The survey collected data on the frequency of adult motion picture attendance in the prior calendar year
(January – December 2021).
•“Think back to January 2021—about a year ago. During the 12-month period from January throughDecember 2021, about how many times did you go to the movies at theaters? Please provide your best
estimate.”Also, where the respondent indicated the presence of a child or children in the household ages 2-17, therespondent was asked to provide estimates of the frequency of each child’s motion picture attendance, as wellas the child’s age and gender. The following question was repeated for each child in order of oldest to
youngest:•“To better understand the make-up of the movie-going audience, we would also like to know about how
frequently children 2 and older attended the movies in 2021, including all times they went with guardiansor on their own. Again, please provide your best estimate. Now, thinking of your child at least 2 but under18, how many times did he or she go to the movies at theaters in 2021?”
In order to analyze the data for attendance levels for the entire population two years of age and older, thesurvey data is split into two data sets -- the original set of adult respondent data and a second set representing
the child data. In order to create this child’s data set, each child in the household is treated as a separate
respondent. The child’s age, gender and movie attendance are taken from the survey data provided by theparent. Each child’s race/ethnicity is assumed to be the same as the parent, as is household information suchas location and household income.

2021 THEME Report | Demographic Survey Methodology

Page 58

Demographic Survey Methodology

Once the two data sets are created, adult data is weighted by age, gender, region, race and education. The
children’s data is also separately weighted by age, gender, region and race. The data sets are combined andthe data is reviewed to ensure that the proportions of children to adults match the overall population. The
combined data usually demonstrates an overrepresentation of children vs. adults, as it does in 2022. In thatcase, the child’s data is then re-weighted if necessary so that the ending proportions of children to adults
corresponds to the actual population ratios. This is necessary because there can be more than one child inmany households. This weighted data set is used to produce the attendance projections.

ENGINE weights data using a raking algorithm based on the demographics listed above to correct fordifferences between the survey sample and the target population. Our assertion is that weighted estimates areapproximately unbiased. Estimated error ranges adjusted for the weighting design effect are located on page
65 of this document. Note: No analysis was conducted to validate the assertion of unbiased estimates.
Attendance projections
The survey process yields a self-reported frequency of motion picture cinema attendance for the total sample
and for each demographic group. When this frequency number is used to calculate total attendance in acalendar year, it typically produces a number that exceeds the attendance figure reported by MPA. This is due
to over reporting on the part of the respondents, so an adjustment factor is calculated for the total sample andfor each demographic group. This adjustment factor is derived by dividing the actual attendance number from
MPA by the attendance number derived from the survey data for each demographic group. The resulting
adjustment factor is typically a number slightly less than one. Attendance projections are then created foreach demographic group, using the weighted total number of admissions derived from the survey data,
multiplied by the adjustment factor.

2021 THEME Report | Demographic Survey Methodology

Page 59

Demographic Survey Methodology

Movie and show/series viewership across various channels
The following two questions were added to the survey in 2019 to compare the frequency of full-length movie
and show or series viewership across various channels. These questions are also presented using adult
data only, weighted by age, gender, region, race, and education.
Now, please think about the different ways you watch movies and shows or series. These could be movies
and shows or series that you watch on any type of device, such as on a TV, computer, phone, tablet, or otherdevice.
•In 2021, how frequently did you watch full-length movies in each of the following ways? Please only
think of full-length movies and do not include any trailers, clips or adult content.
[Select one answer for each. Randomize A-F, always asking G last][SET UP AS GRID]

1.
2.
3.
4.
5.
6.
7.
8.

Every daySeveral times a week
Once a week
2-3 times a month
Once a month
Several times a year
Once a year
Never

A.
B.

See at the cinema
Watch through your regular television service (broadcast, cable, or satellite service), including paidmovie channels and pay per view
Watch online through a website or app that you pay a subscription for like Netflix, Amazon Prime Video,
HBO Max, or Hulu, or that you have access to as part of your regular television subscription like
Comcast Xfinity or Dish Anywhere
Pay to download or rent online through a website or app where you pay per movie like Apple TV/iTunes,
Amazon Video, Google Play Movies, or Vudu
Watch on a Blu-ray or DVD disc that you bought or rented from an official retailer (please don’t include
secondhand discs or bootleg/burned discs or files)
Watch via the YouTube site or app (again, just full-length movies)
Watch or download online for free on a website or app that is not an official source for the movie

C.
D.
E.
F.
G.

2021 THEME Report | Demographic Survey Methodology

Page 60

Demographic Survey Methodology•

In 2021, how frequently did you watch full-length shows or series in each of the following ways?
Please only think of full-length episodes of shows, and not other things like clips, sports, news, or adultcontent. [Select one answer for each. Randomize A-E, always asking F-G last][SET UP AS GRID]

1.
2.
3.
4.
5.
6.
7.
8.

Every daySeveral times a week
Once a week
2-3 times a month
Once a month
Several times a year
Once a year
Never

A.

Watch through your regular television service (broadcast, cable or satellite service), whether at the timethey air, on demand, or recorded on a digital video recorder or DVR
Watch online through a website or app that you pay a subscription for like Netflix, Amazon Prime Video,
HBO Max, or Hulu, or that you log-in and have access to as part of your regular television subscription
like Comcast Xfinity or Dish Anywhere
Pay to download or rent online through a website or app where you pay per show like Apple TV/iTunes,
Amazon Video, Google Play Movies, or Vudu
Watch on a Blu-ray or DVD disc that you bought or rented from an official retailer (please don’t include
secondhand discs or bootleg/burned discs or files)
Watch via the YouTube site or app (again, just full-length shows)
Watch for free on a catch up TV service or website that shows videos of advertising during the show
Watch or download online for free, on a website or app that is not an official website and doesn’t show
regular video ads during the show

B.
C.
D.
E.
F.
G.

Movie and show/series viewership on a mobile device

Two questions were added to the survey in 2020 to measure the frequency of watching full-length movies andfull-length shows or series on a mobile device, such as a smartphone or tablet, among both adults andchildren.

2021 THEME Report | Demographic Survey Methodology

Page 61Demographic Survey Methodology•

And how frequently did you watch the following on a mobile device, such as a smartphone or tablet, in
2021? [Select one answer for each][SET UP AS GRID]

1.
2.
3.
4.
5.
6.
7.
8.

Every daySeveral times a week
Once a week
2-3 times a month
Once a month
Several times a year
Once a year
Never

A.
B.

Full-length movies
Full-length shows or series

Asked of those with children ages 2-17 in the household…
•
Now, thinking of your child(ren) at least 2 but under 18, how frequently did your child watch full-length
movies and/or full-length shows or series on a mobile device, such as a smartphone or tablet, in
2021? Please just make your best estimate. [Select one answer for each][SET UP AS GRID]
1.
2.
3.
4.
5.
6.
7.
8.

Every daySeveral times a week
Once a week
2-3 times a month
Once a month
Several times a year
Once a year
Never

A.
B.
C.
D.
E.
F.
G.

Oldest child
Second oldest child
Third oldest child
Fourth oldest child
Fifth oldest child
Sixth oldest child
Seventh oldest child2021 THEME Report | Demographic Survey Methodology

Page 62Demographic Survey Methodology

Premium video-on-demand viewership
In 2021, a question was included in the survey to measure premium video-on-demand viewership among
respondents who indicated they paid to rent full-length movies online.
•

When you paid to rent full-length movies online in 2021, were any of them new movies that were notreleased in movie theaters, or were just newly released in movie theaters? This is also referred to as
premium video-on-demand. [Select one answer]

1.
2.

Yes
No

Demographics
Note that the race/ethnicity questions in Online CARAVAN® are asked as follows:•

Do you consider yourself to be of Hispanic/Spanish/Latino descent? [Select one answer]

1.
2.

Yes
No

•

What race do you consider yourself? [Select as many as apply]

1.
2.
3.
4.
5.

White
Black or African-American
Native American or Alaska Native
Asian
Other

If respondents answer “yes” to the first question, they are included in the Hispanic/Latino category, regardlessof their answer to the second question. In the analysis stage, respondents who select multiple races aregrouped in the Other analysis category.

2021 THEME Report | Demographic Survey Methodology

Page 63

Demographic Survey Methodology

Table of Adjusted Sampling Error for Demographic Subgroups

Subgroup
All adults
Children 2-17
Ages 2-11
Ages 12-17
Ages 18-24
Ages 25-39
Ages 40-49
Ages 50-59
Ages 60+
White, non-Hispanic
Black, non-Hispanic
Asian/Other, non-Hispanic
Hispanic (any race)
Asian, non-Hispanic
Other, non-Hispanic excluding Asian<25K HH income
25K-<50K HH income
50K-<75K HH income
75K+ HH income
Male
FemaleAdjusted* Error Range+/- 1.2 percentage points+/- 1.6 percentage points+/- 1.9 percentage points+/- 2.7 percentage points+/- 4.1 percentage points+/- 2.1 percentage points+/- 2.9 percentage points+/- 3.2 percentage points+/- 2.3 percentage points+/- 1.2 percentage points+/- 3.0 percentage points+/- 3.2 percentage points+/- 2.6 percentage points+/- 4.4 percentage points+/- 4.8 percentage points+/- 2.5 percentage points+/- 1.9 percentage points+/- 2.4 percentage points+/- 1.4 percentage points+/- 1.3 percentage points+/- 1.4 percentage points*Adjusted for weighting design effect2021 THEME Report | Demographic Survey Methodology

Page 64

Top Films Demographic Methodology

Survey Research
Comscore and Screen Engine/ASI’s PostTrak is conducted every week for all films in their first and second
week of wide release. Twenty-one theaters in unique locations were chosen to participate and are
demographically representative of the U.S. Census population. Wide release includes all films playing in
more than 800 theaters. In 2021, the 21 unique theater locations, sample sizes, and wide release definition
may have been adjusted due to COVID-19 pandemic-related theater shutdowns and seating capacitychanges.

Sample sizes are as follows:• 1st weekend –• For Family titles, a minimum of N=1200 (which includes a mix of general audience, parents, andkids),• For purely General Audience titles, a minimum of N=800.
• 2nd weekend –• For Family titles, a minimum of N=600 (which includes a mix of general audience, parents, andkids),• For purely General Audience titles, a minimum of N=400.
PostTrak collects data via mobile tablet, which is then entered into Comscore’s system within one hour ofdata collection for near-immediate reporting. To ensure the audience composition is representative, audience
audits are conducted at each location by field personnel. These audits are then applied to the collected data
and weighted to the measured demographic of the actual moviegoing audience for each movie.
Note that the “race/ethnicity” question is asked as follows:
Which race or ethnic group do you most identify with? Choose only one.
African-American/Black
Asian/Pacific Islander
Caucasian/White
Hispanic/Latino
Native American
Other67
All survey methodologies involve sampling a universe of potential respondents. The PostTrak surveys are
subject to a sampling error determined by the sample size for each film. The PostTrak method was designed
to minimize the sources of sampling error, as well as coverage error and errors due to response rate.

67 “Other” includes those who self-identify as a “mixed race or ethnicity” or “some other race.” For example, a person’s ethnicity may be Hispanic, but they may alsocharacterize themselves as a member of the Caucasian race. Consequently, when forced to make only one selection, they will identify themselves as “Other” rather thanchoosing to only identify with one race or one ethnic group individually.

2021 THEME Report | Top Films Demographic Methodology

Page 65

Average Time Spent Per Day Methodology

Average Time Spent per Day with Major Media Methodology
Estimates by eMarketer on U.S. time spent with media involve the collection of third party data, primarily survey
data with adult respondents, which asks them about their media use habits. Data is also sourced from online
and mobile activity tracking services and government data, as well as interviews with industry experts. Thisdata is assessed and normalized to the eMarketer definition (i.e. 18+ U.S. population), and then aggregated tothe baseline Average Time Spent with Media estimate. eMarketer also creates forecasted growth rates using
their assessments of historical and expected future growth patterns with regard to device adoption,
multiple/overlapping device usage, population/demographic factors, and competitors to existing devices andactivities in order to arrive at our forecasted growth rates by media and by device.
The major media categories include:• Desktop/laptop video: ages 18+; includes all time spent with online video activities on desktop and laptop
computers, regardless of multitasking; includes both work and personal usage• Mobile video: ages 18+; includes all time spent viewing mobile video, regardless of multitasking• Other connected device video: ages 18+; includes all time spent with online video activities on otherconnected devices, regardless of multitasking; other connected devices include game consoles, connected
TVs, or OTT devices• TV: ages 18+; includes live, DVR, and other prerecorded video (such as video downloaded from the internet
but saved locally); includes all time spent watching TV, regardless of multitasking• Subscription over-the-top (OTT) video: ages 18+ who use at least once per month; includes all time spent
watching video via any app or website that provides paid subscription access to streaming video content
over the internet and bypasses traditional distribution; examples include Amazon Video, HBO Now, Hulu,
Netflix, SlingTV

2021 THEME Report | Average Time Spent Per Day Methodology

Page 66

PHOTO CREDITS
Spider-Man: No Way Home. Courtesy of Sony Pictures.
West Side Story. Courtesy of 20th Century Studios. Credit: Niko Tavernise.
Squid Game. Courtesy of Netflix. Credit: Noh Juhan.
Sing 2. Courtesy of Universal Pictures.
Luca. Courtesy of Disney-Pixar.
Spirit Untamed. Courtesy of Universal Pictures and DreamWorks Animation.
Loki. Courtesy of Marvel Studios.
King Richard. Courtesy of Warner Bros. Pictures. Credit: Chiabella James.
Shang-Chi and the Legend of the Ten Rings. Courtesy of Marvel Studios.
Old. Courtesy of Universal Pictures. Credit: Phobymo.
tick, tick…BOOM! Courtesy of Netflix.
A Mouthful of Air. Courtesy of Sony Pictures.
The Suicide Squad. Courtesy of Warner Bros. Pictures/™ & © DC Comics.
Candyman. Courtesy of Universal Pictures/MGM.
Dune. Courtesy of Warner Bros. Pictures and Legendary Pictures.
A Quiet Place Part II. Courtesy of Paramount Pictures. Credit: Jonny
Cournoyer.
Encanto. Courtesy of Disney.
Star Wars: The Bad Batch. Courtesy of Lucasfilm Ltd.
Ghostbusters: Afterlife. Courtesy of Sony Pictures.
F9: The Fast Saga. Courtesy of Universal Pictures.
Clifford the Big Red Dog. Courtesy of Paramount Pictures.
Raya and the Last Dragon. Courtesy of Walt Disney Animation Studios.
A Journal for Jordan. Courtesy of Columbia Pictures.
Inside Job. Courtesy of Netflix.
Lupin. Courtesy of Netflix. Credit: Emmanuel Guimier.
In the Heights. Courtesy of Warner Bros. Pictures. Credit: Macall Polay.
Venom: Let There Be Carnage. Courtesy of Sony Pictures.
Space Jam: A New Legacy. Courtesy of Warner Bros. Pictures.
Station Eleven. Courtesy of HBO Max. Credit: Parrish Lewis.

ABOUT THE MOTION PICTURE ASSOCIATIONThe Motion Picture Association, Inc. (MPA) serves as the global voice and advocateof the motion picture, home video, and television industries. It works in every cornerof the globe to advance the creative industry, protect its members’ content across all
screens, defend the creative and artistic freedoms of storytellers, and support
innovative distribution models that bring an expansion of viewing choices toaudiences around the world.
Its member studios are: Netflix Studios, LLC; Paramount Pictures Corporation; Sony
Pictures Entertainment Inc.; Universal City Studios LLC; Walt Disney Studios Motion
Pictures; and Warner Bros. Entertainment Inc. Charles Rivkin is Chairman and CEO.