Section Title (Montserrat Bold, 16 pt.)
Chairman’s Letter

Research Note

Executive Summary

Total Theatrical & Home/Mobile Entertainment

Home/Mobile Entertainment: Global

Home/Mobile Entertainment: United States

Home/Mobile Viewing Demographics

Theatrical: Global

Theatrical: U.S. & Canada

Theatrical Demographics

Appendix

03

04

05

07

12

16

26

37

44

52

56
To all fans of film, television, and streaming:

Chairman’s Letter

2021 THEME Report | Chairman’s Letter Page 3

Over the last two years, the pandemic has impacted almost every aspect of 

our 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 Association 

commemorates our 100th anniversary this year, I have a renewed sense of 

optimism, thanks to what I see in our 2021 Theatrical and Home 

Entertainment Market Environment (THEME) Report. 

In short, 2021 marked the onset of our industry’s rapid rebound. I’d like to 

thank each and every member of our global audience for contributing to this 

success, 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 and 

home 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 the 

world. 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 to 

boom, 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./Canada 

box 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 and 

releases of new shows and movies continue to skyrocket. Last year alone, more than 940 films entered production (more 

than 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, and 

unscripted 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 through 

the 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 
Research Note

2021 THEME Report | Research Note Page 4

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 and 

conducting 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 of 

subscriptions 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 have 

continued the adjustments to our reporting from last year. For example, some comparisons included in past 

reports 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 are 

also 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 of 

home/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 theatrical 

and 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 affected 

availability 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 theatrical 

and home/mobile entertainment market. 

Julia Jenks

Vice President of Worldwide Research
Global Trends

• 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 to 

pandemic-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 and 

online 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 on 

mobile 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).

Executive Summary

2021 THEME Report | Executive Summary Page 5

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 and 

home/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). 

HOME/MOBILE ENTERTAINMENT
Executive Summary

2021 THEME Report | Executive Summary Page 6

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. The 

international box office market ($16.8 billion), which excludes the U.S./Canada, increased 76 percent and 

accounted 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), and 

the 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 a 

disproportionate 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). 

$14.9 $12.6 $10.3 $8.0 $6.5

$28.7 $37.7 $45.5

$60.7 $71.9

$41.0

$41.8

$42.3 $11.8

$21.3

$0

$20

$40

$60

$80

$100

2017 2018 2019 2020 2021

Physical Digital Theatrical

Global Theatrical & Home/Mobile 

Entertainment

2021 THEME Report | Global Theatrical & Home/Mobile Entertainment Page 8

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 television 

subscription 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.)

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.)

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 – and 

physical 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 and 

licensing, and the advertising-based market. 

$84.6

92.1

98.1

80.5

99.7

Physical

7%

Digital

72%

Theatrical

21%
$28.7 $14.9 $12.6 $10.3 $8.0 $6.5 $37.7 $45.5 $60.7 $71.9

$41.0 $41.8 $42.3 $11.8 $21.3

$234.0 $235.9 $230.1

$228.5

228.5

$0

$100

$200

$300

$400

2017 2018 2019 2020 2021

Physical Digital Theatrical Pay TV

Global Theatrical & Home/Mobile 

Entertainment

2021 THEME Report | Global Theatrical & Home/Mobile Entertainment Page 9

When pay television subscription4is 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, matching 

2019’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.)

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 physical 

market (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.)

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. 

$318.6 $328.0 328.2

309.0

328.2

Physical

2%

Digital

22%

Theatrical

Pay TV 6%

70%
$6.8 $5.8 $4.7 $3.5 $2.8

$14.0 $17.4 $20.0

$26.5 $29.5

$11.1

$11.9 $11.4 $2.2

$4.5

$0

$5

$10

$15

$20

$25

$30

$35

$40

2017 2018 2019 2020 2021

Physical Digital Theatrical

U.S. Theatrical & Home/Mobile Entertainment

2021 THEME Report | U.S. Theatrical & Home/Mobile Entertainment Page 10

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 in 

both the theatrical and digital markets. 

U.S. Theatrical & Home/Mobile Entertainment Market (US$ Billions)

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

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%). 

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 sellthrough 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 not 

included.

2021 U.S. Theatrical & Home/Mobile Entertainment Market (US$ Share)

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

$36.8

$32.2

$36.1 $35.1

$31.9

Physical

8%

Digital

80%

Theatrical

12%
$6.8 $5.8 $4.7 $3.5 $2.8

$14.0 $17.4 $20.0 $26.5 $29.5

$11.1 $11.9 $11.4 $2.2 $4.5

$109.6 $107.2 $104.3 $101.5 $96.7

$0

$20

$40

$60

$80

$100

$120

$140

$160

2017 2018 2019 2020 2021

Physical Digital Theatrical Pay TV

U.S. Theatrical & Home/Mobile Entertainment

2021 THEME Report | U.S. Theatrical & Home/Mobile Entertainment Page 11

When pay television subscription7is 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)

Pay 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 the 

physical 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)

$133.7 $133.5

$142.3 $140.4 $141.5

Physical

2%

Digital

22%

Theatrical

3%

Pay TV

73%

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 are 

basic, 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. 

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. digital 

market increased 11 percent and the international digital market increased 24 percent, when compared to 

2020. 

$6.8 $5.8 $4.7 $3.5 $2.8

$14.0 $17.4 $20.0 $26.5 $29.5

$8.0 $6.8 $5.5

$4.5 $3.7 $14.6

$20.3 $25.5

$34.2

$42.5

$0

$10

$20

$30

$40

$50

$60

$70

2017 2018 2019 2020 2021

U.S. Physical U.S. Digital International Physical International Digital

Global Home/Mobile Entertainment

2021 THEME Report | Global Home/Mobile Entertainment Page 13

Global Home/Mobile Entertainment Market (US$ Billions)

Source: Omdia (International) and Digital Entertainment Group (U.S.)

$43.4

$50.3

$55.7

$68.7 $78.5

2017 2018 2019 2020 2021 21 vs. 20

International

Physical10 $8.0 $6.8 $5.5 $4.5 $3.7 -16%

Digital11 $14.6 $20.3 $25.5 $34.2 $42.5 24%

U.S.12

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 $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 and 

rentals). 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 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-on-Demand (PVOD). Including PVOD would increase the digital total. Previous years’ estimates may be updated based on changes made 

by source.
International Home/Mobile Entertainment

2021 THEME Report | Global Home/Mobile Entertainment Page 14

International Home/Mobile Entertainment Market by Region (US$ Billions)

Source: Omdia

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 and 

rentals). 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.

$9.1 $11.0 $12.4

$16.2

$19.6

$9.0

$11.0 $12.6

$15.4

$18.0

$2.1 $2.8 $3.5 $4.6 $6.0

$0

$10

$20

$30

2017 2018 2019 2020 2021

EMEA Asia Pacific Latin America

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%

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.
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 in 

each of the categories to which they subscribe. For example, the majority of households have both pay TV and 

online subscriptions15, and are counted in both categories.

Global Pay TV & Online Video Subscriptions

2021 THEME Report | Global Pay TV & Online Video Subscriptions Page 15

Global Pay TV & Online Video Subscriptions (Millions)16

Source: Omdia

0

200

400

600

800

1,000

1,200

1,400

1,600

2017 2018 2019 2020 2021

Online Video

Cable

Internet Protocol Television

(IPTV)

Satellite

Virtual Pay TV

Digital Terrestrial Television

(DTT)

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 the 

decrease 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

15 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 the 

advertising-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.

$0

$20

$40

$60

$80

$100

$120

2017 2018 2019 2020 2021

Cable Satellite Online Video Virtual Pay TV IPTV DTT

$10.4 $13.2 $15.8 $21.2 $25.3 $10.5 $10.0 $9.0

$8.8 $7.0

$0

$10

$20

$30

$40

2017 2018 2019 2020 2021

Subscription Transactional

$6.8 $5.8 $4.7 $3.5 $2.8

$14.0 $17.4 $20.0 $26.5 $29.5

$0

$10

$20

$30

$40

2017 2018 2019 2020 2021

Physical Digital

U.S. Home/Mobile Entertainment

2021 THEME Report | U.S. Home/Mobile Entertainment Page 17

In 2021, the overall home/mobile entertainment market (content released digitally and on disc) in the United 

States 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 to 

increase (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

$32.3 $30.0

$24.7 $23.2 $20.8

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%

$32.3 $30.0

$23.2 $24.8 $20.9

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 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-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. 
U.S. Top 20 Weekly Watched at Home

2021 THEME Report | U.S. Top 20 Watched at Home Page 18

Top 20 Titles in DEG20 Weekly Watched at Home List, 202121

Source: DEG and The Numbers

Rank Title Studio Weeks in Top 20 

Watched at Home

1 Yellowstone: S1 Paramount 49

2 Yellowstone: S3 Paramount 45

3 Harry Potter: Complete 8-Film Collection Warner Bros. 40

4 Yellowstone: S2 Paramount 35

5 The Croods: A New Age DreamWorks 19

6 Nobody Universal 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

12 Free Guy Disney 14

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.
U.S. Online Views & Transactions

2021 THEME Report | U.S. Online Views & Transactions Page 19

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

10.6 12.1 15.1 29.5 33.9

120.0

152.3

186.3

304.2 319.0

0

50

100

150

200

250

300

350

400

2017 2018 2019 2020 2021

Online movie views/transactions Online TV views/transactions

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 based 

on changes made by source. Previous years had included free to view via pay TV services but current figures do not.

130.6

164.4

201.4

333.7

352.9
U.S. Pay TV & Online Video Subscriptions

2021 THEME Report | U.S. Pay TV & Online Video Subscriptions Page 20

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 subscriptions24 and are 

counted in both categories. 

U.S. Pay TV & Online Video Subscriptions (Millions)25

Source: Omdia

0

50

100

150

200

250

300

350

400

2017 2018 2019 2020 2021

Online Video

Cable

Satellite

Virtual Pay TV

IPTV

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 an 

increase of 24 percent to $40.2 billion in 2021. 

U.S. Pay TV & Online Video Subscription Markets (US$ Billions)25, 26

Source: Omdia

24 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

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 the 

advertising-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.

$0

$10

$20

$30

$40

$50

$60

2017 2018 2019 2020 2021

Cable Satellite Online Video IPTV Virtual Pay TV
U.S. Top 10 Streaming Series

2021 THEME Report | U.S. Top 10 Streaming Series Page 21

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 12,908

5 Bridgerton Netflix 8 12,356

6 You 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

Rank Title

SVOD 

Provider(s) # of Episodes

Minutes Streamed 

(Nearest Millions)

1 Criminal Minds Netflix 322 33,865

2 Cocomelon Netflix 15 33,278

3 Grey's Anatomy Netflix 382 32,625

4 NCIS Netflix 354 29,529

5 Heartland Netflix 215 20,410

6 Manifest Netflix 42 19,923

7 Supernatural Netflix 329 18,912

8 Schitt's Creek Netflix 80 18,062

9 Gilmore Girls Netflix 153 14,704

10 New Girl Netflix 146 14,680

U.S. Top 10 Streaming Original Series27

Source: Nielsen

U.S. Top 10 Streaming Acquired Series27

Source: Nielsen

27 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).
U.S. Top 10 Streaming Films

2021 THEME Report | U.S. Top 10 Streaming Films Page 22

Rank Title

SVOD 

Provider(s)

Minutes Streamed (Nearest 

Millions)

1 Luca (2021) Disney+ 10,592

2 Moana Disney+ 8,896

3 Raya and the Last Dragon Disney+ 8,343

4 Frozen II Disney+ 5,746

5 Red Notice Netflix 5,528

6 Frozen Disney+ 5,146

7 Soul (2020) Disney+ 5,282

8 Cruella Disney+ 5,174

9 Mitchells vs. The Machines Netflix 4,517

10 Jungle Cruise Disney+ 4,425

U.S. Top 10 Streaming Films28

Source: Nielsen

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).
Original Series

2021 THEME Report | Original Series Production Page 23

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

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

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, and 

unscripted 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.

487 496 532 493

559

0

100

200

300

400

500

600

2017 2018 2019 2020 2021

1,209 1,067 1,064 910 887

245

234 235

228 246

217

308 347

451

693

1,671 1,609 1,646 1,589

1,826

0

500

1,000

1,500

2,000

2017 2018 2019 2020 2021

Pay TV Broadcast Online Services
Online Exclusive Films

2021 THEME Report | Original Series Production Page 24

In 2021, there were 179 original films exclusive to online streaming services, comparable to 2020. 

Estimated Number of Online Exclusive Films31

Source: Ampere

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 theatrical 

release, including limited release are not included. 

93 101

113

179 179

0

20

40

60

80

100

120

140

160

180

200

2017 2018 2019 2020 2021
U.S. Average Time Spent with Video

2021 THEME Report | U.S. Average Time Spent with Video Page 25

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

0

50

100

150

200

250

TV Desktop/laptop video Mobile video Other connected device

video

2017 2018 2019 2020 2021

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 Video 

by U.S. Adults (Minutes)32

Source: eMarketer

Mobile 

video

15%

Desktop/laptop 

video

7%

Other 

connected 

device video

21%

TV

57%

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 to 

streaming 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.

Frequency of Home/Mobile Viewing: All 

Adults/All Devices

2021 THEME Report | Frequency of Home/Mobile Viewing: All Adults/All Devices Page 27

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. These 

viewing 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 in 

movie theaters (PVOD).33

2021 Share of Population Viewing Movies by Home/Mobile Distribution Channel34

5%

5%

21%

20%

8%

7%

25%

20%

7%

7%

12%

12%

36%

33%

24%

27%

44%

48%

18%

21%

0% 20% 40% 60% 80% 100%

Physical Disc

EST/VOD

Online

Subscription

Pay TV

Every day Several times a week Once a week 2-3 times a month or less Never

2021 Share of Population Viewing TV Shows/Series by Home/Mobile Distribution Channel34

4%

6%

22%

22%

8%

8%

25%

21%

7%

7%

11%

11%

29%

27%

22%

24%

52%

52%

20%

22%

0% 20% 40% 60% 80% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Every day Several times a week Once a week 2-3 times a month or less Never

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.
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 or 

shows/series via online subscription services increased over the period of the COVID-19 pandemic, with a net 

increase of 45 percent when accounting for those who reported a decrease in viewing. Pay TV also had a net 

increase in viewing of 30 percent (42% reported an increase), followed by EST/VOD (15% net increase) and 

physical disc (1% net increase).

Home/Mobile Viewing: COVID-19 Impact

2021 THEME Report | Home/Mobile Viewing: COVID-19 Impact Page 28

Increase in Home/Mobile Adult Viewing Over the COVID-19 Pandemic Period

(% of all adults 18+)

9%

13%

31%

20%

13%

17%

22%

22%

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

Physical Disc

EST/VOD

Online Subscription

Pay TV

Increased a lot Increased a little

*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.

+30%*

+45%*

+15%*

+1%*
Home/Mobile Viewing Demographics: 

All Viewers

2021 THEME Report | Home/Mobile Viewing Demographics: All Viewers Page 29

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. 

53%

50%

48%

49%

48%

47%

50%

52%

51%

52%

0% 25% 50% 75% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

Male Female

2021 Gender Share of Adult Population and Home/Mobile Viewers

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

13%

15%

13%

11%

11%

32%

36%

30%

26%

26%

18%

19%

17%

16%

16%

15%

13%

15%

16%

16%

22%

17%

25%

31%

31%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

18-24 25-39 40-49 50-59 60+

In 2021, the Hispanic/Latino category was overrepresented in terms of reported EST/VOD (20%) viewing relative to their 

share of the adult population (17%). All shares were similar to those in 2020.

62%

59%

60%

62%

63%

11%

13%

13%

12%

12%

19%

20%

18%

18%

17%

5%

6%

6%

6%

6%

3%

2%

3%

2%

2%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

Caucasian/White African-American/Black Hispanic/Latino Asian Other

2021 Ethnicity Share of Adult Population and Home/Mobile Viewers
Home/Mobile Viewing Demographics: 

Trends in All Viewers

2021 THEME Report | Home/Mobile Viewing Demographics: Trends in All Viewers Page 30

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

48% 52% 48% 52% 48% 52% 48% 52%

0%

20%

40%

60%

Male Female

2018 2019 2020 2021

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

12%

27%

16% 17%

28%

12%

27%

16% 17%

28%

12%

27%

15% 17%

29%

11%

27%

16% 16%

30%

0%

5%

10%

15%

20%

25%

30%

35%

18-24 25-39 40-49 50-59 60+

2018 2019 2020 2021

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

64%

12% 16%

6% 2%

63%

12%

17%

6% 2%

63%

12%

17%

6% 2%

62%

12%

17%

6% 3%

0%

10%

20%

30%

40%

50%

60%

70%

Caucasian/White African-American/

Black

Hispanic/Latino Asian Other

2018 2019 2020 2021
Home/Mobile Viewing Demographics: 

Daily Viewers

2021 THEME Report | Home/Mobile Viewing Demographics: Daily Viewers Page 31

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 or 

physical discs. 

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

58%

54%

46%

47%

48%

42%

46%

54%

53%

52%

0% 25% 50% 75% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

Male Female

In 2021, the 25-39 age group was heavily overrepresented in terms of daily viewers to online subscription, EST/VOD, and 

physical disc distribution channels, similar to 2020. 

2021 Age Group Share of Adult Population and Daily Home/Mobile Viewers36

In 2021, the Hispanic/Latino category was overrepresented in the population of daily viewers in the distribution channels of 

physical 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

20%

23%

16%

8%

11%

49%

48%

39%

24%

26%

17%

18%

19%

16%

16%

8%

6%

12%

18%

16%

6%

5%

14%

34%

31%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

18-24 25-39 40-49 50-59 60+

48%

47%

52%

61%

63%

18%

20%

15%

15%

12%

29%

27%

24%

18%

17%

3%

4%

6%

4%

6%

2%

2%

3%

2%

2%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Physical Disc

EST/VOD

Online Subscription

Pay TV

Population

Caucasian/White African-American/Black Hispanic/Latino Asian Other
Home/Mobile Viewing Demographics: 

Trends in Daily Viewers

2021 THEME Report | Home/Mobile Viewing Demographics: Trends in Daily Viewers Page 32

In 2021, the gender composition of daily viewers of any home/mobile entertainment viewing method is similar 

to the composition of the overall population. 

46%

54%

47% 53% 47% 53%

46%

54%

0%

20%

40%

60%

Male Female

2018 2019 2020 2021

Trend in Gender Share of Daily Home/Mobile Viewers37

In 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. 

10%

29%

16% 17%

28%

11%

28%

17% 17%

27%

11%

29%

17% 17%

26%

12%

30%

17% 15%

26%

0%

5%

10%

15%

20%

25%

30%

35%

18-24 25-39 40-49 50-59 60+

2018 2019 2020 2021

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

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 or 

physical discs. 

Trend in Age Group Share of Daily Home/Mobile Viewers37

65%

12%

17%

4% 2%

63%

13% 17%

4% 3%

61%

13%

18%

5% 3%

58%

14%

20%

5% 3%

0%

10%

20%

30%

40%

50%

60%

70%

Caucasian/White African-American/

Black

Hispanic/Latino Asian Other

2018 2019 2020 2021
Frequency of Mobile Viewing: 

All Adults and Children

2021 THEME Report | Frequency of Mobile Viewing: All Adults and Children Page 33

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 do 

so 2-3 times a month or less, similar to 2020.

2021 Children Mobile Viewing Frequency

18% 28% 14% 26% 14%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

TV shows or movies

Every day Several times a week Once a week 2-3 times a month or less Never

2021 Adult Mobile Viewing Frequency

9%

10%

12%

15%

9%

8%

27%

27%

43%

40%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Full-length movies

Full-length TV shows

Every day Several times a week Once a week 2-3 times a month or less Never
Mobile Viewing Demographics

2021 THEME Report | Mobile Viewing Demographics Page 34

In 2021, the gender composition of viewers via a mobile device skewed slightly toward men compared to the 

total population, similar to in 2020. 

51%

50%

49%

49%

50%

51%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Daily Mobile Viewers

Mobile Viewers

Population

Male Female

2021 Gender Share of Population, Mobile Viewers, and Daily Mobile Viewers

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

16%

16%

13%

10%

10%

8%

16%

12%

9%

34%

27%

21%

12%

14%

13%

7%

10%

12%

5%

11%

24%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Daily Mobile Viewers

Mobile Viewers

Population

2-11 12-17 18-24 25-39 40-49 50-59 60+

In 2021, the Hispanic/Latino (29%) and African-American/Black (18%) categories were overrepresented in 

terms 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

46%

53%

60%

18%

15%

12%

29%

23%

19%

3%

6%

6%

4%

3%

3%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Daily Mobile Viewers

Mobile Viewers

Population

Caucasian/White African-American/Black Hispanic/Latino Asian Other
Trends in Mobile Viewing

2021 THEME Report | Trends in Mobile Viewing Page 35

In 2021, the gender composition of show/series or movie viewers via a mobile device was an even split, similar 

to 2020. 

50% 51% 50% 50% 49% 50%

0%

10%

20%

30%

40%

50%

60%

Male Female

2019 2020 2021

Trend in Gender Share of Mobile Viewers

In 2021, the share of mobile viewers by age group remained relatively consistent compared to 2020. 

16%

10%

12%

25%

13% 12% 11%

16%

10%

12%

26%

13%

11% 12%

16%

10%

12%

27%

14%

10% 11%

0%

5%

10%

15%

20%

25%

30%

2-11 12-17 18-24 25-39 40-49 50-59 60+

2019 2020 2021

Trend in Age Group Share of Mobile Viewers

The share of mobile viewers by ethnicity also remained relatively consistent compared to 2020.

Trend in Ethnicity Share of Mobile Viewers

53%

14%

22%

7% 4%

54%

14%

22%

7% 3%

53%

15%

23%

6% 3%

0%

10%

20%

30%

40%

50%

60%

Caucasian/White African-American/

Black

Hispanic/Latino Asian Other

2019 2020 2021
In 2021, the gender composition of daily show/series or movie viewers remained the same as in 2020. 

Trends in Daily Mobile Viewing

2021 THEME Report | Trends in Daily Mobile Viewing Page 36

Trend in Gender Share of Daily Mobile Viewers

Trend in Age Group Share of Daily Mobile Viewers

Trend in Ethnicity Share of Daily Mobile Viewers

51% 51% 51% 49% 49% 49%

0%

20%

40%

60%

Male Female

2019 2020 2021

In 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.

15%

10%

15%

27%

13%

10% 10%

16%

11% 13%

29%

14%

9% 8%

16%

10%

16%

34%

12%

7% 5%

0%

10%

20%

30%

40%

2-11 12-17 18-24 25-39 40-49 50-59 60+

2019 2020 2021

The Hispanic/Latino category share of daily mobile viewers increased four percentage points in 2021.

46%

19%

27%

5% 3%

49%

17%

25%

5% 4%

46%

18%

29%

3% 4%

0%

10%

20%

30%

40%

50%

60%

Caucasian/White African-American/

Black

Hispanic/Latino Asian Other

2019 2020 2021

$11.1 $11.9 $11.4

$2.2 $4.5

$29.8 $29.9 $30.9

$9.6

$16.8

$0

$5

$10

$15

$20

$25

$30

$35

$40

$45

2017 2018 2019 2020 2021

International U.S./Canada

(73%)

$41.8

$11.8

$21.3 (73%)

(81%)

Global Box Office

2021 THEME Report | Global Box Office Page 38

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. The 

international 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

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.

$40.9 $42.3

(72%)

(79%)
International Box Office

2021 THEME Report | International Box Office Page 39

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. This 

was 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

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 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. Note 

that local currency box office trends may differ due to exchange rate fluctuations.

43 Percentage change is calculated using table values before rounding.

$10.2 $10.1 $10.3

$3.3

$5.0

$16.2 $17.1 $17.8

$5.8

$10.9

$3.4 $2.7 $2.8

$0.5 $0.9

$0

$2

$4

$6

$8

$10

$12

$14

$16

$18

$20

2017 2018 2019 2020 2021

EMEA Asia Pacific Latin America
Top International Box Office Markets

2021 THEME Report | Top International Box Office Markets Page 40

Percentage of Cinema Screens Closed by Region, By Week in 202144

Source: Omdia

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 of 

screens that were closed by week. The view shows that after mid-2020, Asia theaters remained mostly open through the 

first 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.

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

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

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

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. 

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

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

Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov DecJan

2020 2021 2022

Asia Pacific

Central & Eastern Europe

Central and South America

Middle East and Africa

North America

Western Europe
$32.5 $35.0 $35.8

$11.1

$19.9

$8.4

$6.8 $6.5

$0.7

$1.4

$0

$5

$10

$15

$20

$25

$30

$35

$40

$45

2017 2018 2019 2020 2021

Global 2D Global 3D

Global 3D Box Office

2021 THEME Report | Global 3D Box Office Page 41

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

(21%)

(16%) (15%)

(6%)

(7%)

$40.9 $41.8 $42.3

$11.8

$21.3

2017 2018 2019 2020 2021

% Change47

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. 
1,764 562 4,509 465 27,176 23,697 22,087

8,722

14,706 21,297

84,393

5,959

0

20,000

40,000

60,000

80,000

100,000

120,000

U.S./Canada EMEA Asia Pacific Latin America

Unclassified Digital Non 3D Digital 3D

Global Cinema Screens

2021 THEME Report | Global Cinema Screens Page 42

Total cinema screens increased four percent globally in 2021, due to a seven percent increase in the Asia 

Pacific region. 

43,216 43,459 43,679 42,623 41,882

126,239 138,807 152,134 158,358 166,155

0

20,000

40,000

60,000

80,000

100,000

120,000

140,000

160,000

180,000

200,000

220,000

2017 2018 2019 2020 2021

International U.S./Canada

122%

2021 Global Cinema Screens by Format and Region48

Source: Omdia

Global Digital Screens

Source: Omdia

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.

169,455

208,037

182,266

195,813 200,981

(74%) (76%) (78%) (79%) (80%)

43,646 45,556

110,989

15,146

49
Global 3D Cinema Screens

2021 THEME Report | Global 3D Cinema Screens Page 43

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 an 

eight 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

2017 2018 2019 2020 2021

2021 

% of digital

U.S./Canada 16,978 16,972 16,586 15,089 14,706 35%

EMEA 19,159 20,711 20,884 20,713 21,297 47%

Asia Pacific 51,661 62,937 73,215 78,423 84,393 79%

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%

% change vs. previous year 13% 14% 10% 3% 5%

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

U.S./Canada Box Office & Admissions

2021 THEME Report | U.S./Canada Box Office & Admissions Page 45

In 2021, the U.S./Canada box office market was $4.5 billion, up 105 percent from $2.2 billion in 2020.51 However, it 

remained 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

$10.8 $10.9 $10.4

$11.1 $11.4 $11.1 $11.9 $11.4

$2.2

$4.5

$0

$2

$4

$6

$8

$10

$12

2012 2013 2014 2015 2016 2017 2018 2019 2020 2021

% Chg. 

21 vs. 20

U.S./Can. box office 

(US$B) $10.8 $10.9 $10.4 $11.1 $11.4 $11.1 $11.9 $11.4 $2.2 $4.5 105%

1.36 1.34 1.27 1.32 1.32 1.24 1.30 1.24

0.24

0.47

0.0

1.0

2.0

3.0

4.0

5.0

6.0

0.00

0.20

0.40

0.60

0.80

1.00

1.20

1.40

1.60

1.80

2012 2013 2014 2015 2016 2017 2018 2019 2020 2021

Admissions (Billions)

Admissions per capita

Admissions (Billions) Admissions per capita

2012 2013 2014 2015 2016 2017 2018 2019 2020 2021

% Chg. 

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) average 

annual 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+.
Films Rated & Released

2021 THEME Report | Films Rated & Released Page 46

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: CARA

The 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 2013 2014 2015 2016 2017 2018 2019 2020 2021

Films released 691 681 764 755 801 872 862 987 338 387

- New feature films57 672 669 749 735 767 775 738 860 319 370

- Re-releases57 18 10 14 14 24 49 56 67 10 12

- Non-feature films57 1 2 1 6 10 48 68 60 9 5

- Large format releases 23 28 27 30 33 38 49 42 11 18

- 3D film releases 39 43 42 35 45 40 33 33 3 9

- 3D wide release films 33 35 31 28 37 35 28 27 3 9

MPA member total 128 114 135 147 144 130 128 124 60 96

- MPA studios 94 84 99 100 102 86 92 83 34 58

- MPA studio subsidiaries 34 30 36 47 42 44 36 41 26 38

Non-members 563 567 629 608 657 742 734 863 278 291

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 is 

regularly 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.
Films Produced

2021 THEME Report | Films Produced Page 47

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

2017 2018 2019 2020 202159

% Change 21 

vs. 2060

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 coproductions). 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.
Top 25 Films

2021 THEME Report | Top 25 Films Page 48

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, down 

from 75 percent in 2020. 

Top 25 Films by U.S./Canada Box Office Market in 2021

Source: Comscore – Box Office Essentials, CARA (Rating)

Rank Title Distributor

Box Office 

(US$ MM) Rating 3D

1 Spider-Man: No Way Home* Sony 573.0 PG13 ✓

2 Shang-Chi and the Legend of the Ten Rings Disney 224.5 PG13 ✓

3 Venom: Let There Be Carnage Sony 212.6 PG13 ✓

4 Black Widow Disney 183.7 PG13 ✓

5 F9: The Fast Saga Universal 173.0 PG13

6 Eternals Disney 164.6 PG13 ✓

7

No Time To Die United Artists 

Releasing 160.8 PG13

8 Quiet Place Part II, A Paramount 160.2 PG13

9 Ghostbusters: Afterlife Sony 122.4 PG13

10 Free Guy 20th Century Studios 121.6 PG13 ✓

11 Jungle Cruise Disney 117.0 PG13 ✓

12 Dune Warner Bros. 107.2 PG13 ✓

13 Godzilla vs. Kong Warner Bros. 100.9 PG13 ✓

14 Halloween Kills Universal 92.0 R

15 Encanto Disney 90.6 PG ✓

16 Cruella Disney 86.1 PG13

17 Sing 2* Universal 76.5 PG ✓

18 Space Jam: A New Legacy Warner Bros. 70.6 PG

19 Conjuring: The Devil Made Me Do It, The Warner Bros. 65.6 R

20 Candyman Universal 61.2 R

21 Boss Baby: Family Business, The Universal 57.3 PG ✓

22 Addams Family 2, The United Artists Releasing 56.5 PG

23 Suicide Squad, The Warner Bros. 55.8 R

24 Raya And The Last Dragon Disney 54.7 PG ✓

25 Demon Slayer the Movie: Mugen Train FUNimation Films 49.4 R

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

2021 THEME Report | Top Film Demographics by Gender Page 49

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 conducted 

during 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

56%

67%

55%

60%

57%

59%

45%

41%

45%

40%

43%

41%

0% 20% 40% 60% 80% 100%

Survey Average

F9: The Fast Saga

Black Widow

Venom: Let There Be Carnage

Shang-Chi and the Legend of the Ten Rings

Spider-Man: No Way Home

Male Female

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.
Top Film Demographics by Ethnicity

2021 THEME Report | Top Film Demographics by Ethnicity Page 50

According to Comscore and Screen Engine/ASI’s PostTrak, among the top grossing films, F9: The Fast Saga 

drew 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 the 

survey average.

45%

37%

52%

43%

42%

39%

28%

37%

26%

31%

20%

28%

15%

17%

13%

15%

15%

16%

9%

7%

6%

7%

19%

12%

4%

3%

3%

4%

5%

6%

0% 20% 40% 60% 80% 100%

Survey Average

F9: The Fast Saga

Black Widow

Venom: Let There Be Carnage

Shang-Chi and the Legend of the Ten Rings

Spider-Man: No Way Home

Caucasian/White Hispanic/Latino African-American/Black Asian/Pacific Islander Native American/Other

2021 Ethnicity Share of Top Grossing Films63

Source: Comscore/Screen Engine/ASI

63 Percentage values in table may not sum to 100 percent due to rounding.
U.S. Cinema Screens

2021 THEME Report | U.S. Cinema Screens Page 51

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

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.

. 

284 520 604 

1,430 1,706 

24,579 24,806 25,432 25,916 25,580 

15,530 15,511 

15,136 13,652 13,292 

 -

 5,000

 10,000

 15,000

 20,000

 25,000

 30,000

 35,000

 40,000

 45,000

2017 2018 2019 2020 2021

Unclassified Digital non-3D Digital 3D

40,393 40,837 41,172 40,998 40,578

65

Nonmoviegoers, 

53%

Infrequent, 

12%

Occasional, 

Frequent, 32%

3%

Theatrical Attendance Demographics

2021 THEME Report | Theatrical Attendance Demographics Page 53

Just under half (47%) of the U.S./Canada population aged two or older, or 168 million people, went to a 

movie at the cinema at least once in 2021 (“moviegoer”). The percentage was about the same as 2020 

and 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.

2021 Demographic Summary U.S./Canada Population 66

ages 2+ (356.2M)

U.S./Canada 

Admissions

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 for 

34 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 than 

half 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+

U.S./Canada 

Tickets Sold Infrequent, 

6%

Occasional, 

60%

Frequent, 

34%

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 the 

2017 survey, the methodology was changed to online survey only, so comparisons prior to 2017 are not feasible.
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.

Theatrical Demographic Shares

2021 THEME Report | Theatrical Demographic Shares Page 54

2021 Gender Share of Total Population, Moviegoers, and Tickets Sold

41%

47%

51%

59%

53%

49%

0% 25% 50% 75% 100%

Tickets sold

Moviegoers

Population

Female Male

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

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

14%

16%

13%

14%

12%

8%

14%

14%

9%

29%

26%

21%

13%

13%

13%

7%

9%

12%

9%

10%

24%

0% 20% 40% 60% 80% 100%

Tickets sold

Moviegoers

Population

2-11 12-17 18-24 25-39 40-49 50-59 60+

57%

54%

60%

12%

13%

12%

23%

24%

19%

5%

6%

6%

3%

3%

3%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Tickets sold

Moviegoers

Population

Caucasian/White African-American/Black Hispanic/Latino Asian Other
In 2021, per capita annual movie attendance (tickets sold per person) increased for both females (1.1) and 

males (1.6) against 2020.

Theatrical Per Capita Attendance

2021 THEME Report | Theatrical Per Capita Attendance Page 55

Per Capita Attendance by Gender

3.4 3.7 3.5

4.0

3.2

3.9

0.6 0.8 1.1

1.6

0.0

1.0

2.0

3.0

4.0

5.0

Female Male

2017 2018 2019 2020 2021

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

2.9

4.9 4.7 4.4

3.6

3.0

2.5

3.0

5.1 5.1 4.3

4.3

3.2

2.5 2.9

4.9 4.7

4.2 4.2

2.9

2.3

0.8 1.1 0.9 0.9 0.7 0.5 0.3

1.5

2.5

2.0 1.9

1.4

0.7 0.5

0.0

1.0

2.0

3.0

4.0

5.0

6.0

2-11 12-17 18-24 25-39 40-49 50-59 60+

2017 2018 2019 2020 2021

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

3.2 3.4

4.5 4.3 4.2

3.3 3.7

4.7 4.5

4.0

3.2 3.2

4.7

4.1

3.4

0.5 0.7 1.0 0.7 0.5

1.3 1.3 1.7

1.0 1.1

0.0

1.0

2.0

3.0

4.0

5.0

Caucasian/ White African-American/

Black

Hispanic/ Latino Asian Other

2017 2018 2019 2020 2021
Section Title (Montserrat Bold, 16 pt.)
Glossary of Terms

2021 THEME Report | Glossary of Terms Page 57

THEME Report: Glossary of Terms
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 58

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 selected 

from 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 a 

result, 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 through 

December 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, the 

respondent was asked to provide estimates of the frequency of each child’s motion picture attendance, as well 

as 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 guardians 

or on their own. Again, please provide your best estimate. Now, thinking of your child at least 2 but under 

18, 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, the 

survey 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 the 

parent. Each child’s race/ethnicity is assumed to be the same as the parent, as is household information such 

as location and household income.
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 59

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 and 

the 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 that 

case, 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 in 

many 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 for 

differences between the survey sample and the target population. Our assertion is that weighted estimates are 

approximately 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 a 

calendar 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 and 

for 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 for 

each demographic group, using the weighted total number of admissions derived from the survey data, 

multiplied by the adjustment factor.
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 60

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 other 

device. 

• 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. Every day

2. Several times a week

3. Once a week

4. 2-3 times a month

5. Once a month

6. Several times a year

7. Once a year

8. Never

A. See at the cinema

B. Watch through your regular television service (broadcast, cable, or satellite service), including paid 

movie channels and pay per view

C. 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

D. 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

E. 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)

F. Watch via the YouTube site or app (again, just full-length movies)

G. Watch or download online for free on a website or app that is not an official source for the movie
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 61

• 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 adult 

content. [Select one answer for each. Randomize A-E, always asking F-G last]

[SET UP AS GRID]

1. Every day

2. Several times a week

3. Once a week

4. 2-3 times a month

5. Once a month

6. Several times a year

7. Once a year

8. Never

A. Watch through your regular television service (broadcast, cable or satellite service), whether at the time 

they air, on demand, or recorded on a digital video recorder or DVR

B. 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

C. 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

D. 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)

E. Watch via the YouTube site or app (again, just full-length shows)

F. Watch for free on a catch up TV service or website that shows videos of advertising during the show

G. 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

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 and 

full-length shows or series on a mobile device, such as a smartphone or tablet, among both adults and 

children. 
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 62

• 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. Every day

2. Several times a week

3. Once a week

4. 2-3 times a month

5. Once a month

6. Several times a year

7. Once a year

8. Never

A. Full-length movies

B. 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. Every day

2. Several times a week

3. Once a week

4. 2-3 times a month

5. Once a month

6. Several times a year

7. Once a year

8. Never

A. Oldest child

B. Second oldest child

C. Third oldest child

D. Fourth oldest child

E. Fifth oldest child

F. Sixth oldest child

G. Seventh oldest child
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 63

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 not 

released 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. Yes

2. 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. Yes

2. No

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

1. White

2. Black or African-American

3. Native American or Alaska Native

4. Asian

5. Other

If respondents answer “yes” to the first question, they are included in the Hispanic/Latino category, regardless 

of their answer to the second question. In the analysis stage, respondents who select multiple races are 

grouped in the Other analysis category.
Demographic Survey Methodology

2021 THEME Report | Demographic Survey Methodology Page 64

Table of Adjusted Sampling Error for Demographic Subgroups

Subgroup Adjusted* Error Range

All adults +/- 1.2 percentage points

Children 2-17 +/- 1.6 percentage points

Ages 2-11 +/- 1.9 percentage points

Ages 12-17 +/- 2.7 percentage points

Ages 18-24 +/- 4.1 percentage points

Ages 25-39 +/- 2.1 percentage points

Ages 40-49 +/- 2.9 percentage points

Ages 50-59 +/- 3.2 percentage points

Ages 60+ +/- 2.3 percentage points

White, non-Hispanic +/- 1.2 percentage points

Black, non-Hispanic +/- 3.0 percentage points

Asian/Other, non-Hispanic +/- 3.2 percentage points

Hispanic (any race) +/- 2.6 percentage points

Asian, non-Hispanic +/- 4.4 percentage points

Other, non-Hispanic excluding Asian +/- 4.8 percentage points

<25K HH income +/- 2.5 percentage points

25K-<50K HH income +/- 1.9 percentage points

50K-<75K HH income +/- 2.4 percentage points

75K+ HH income +/- 1.4 percentage points

Male +/- 1.3 percentage points

Female +/- 1.4 percentage points

*Adjusted for weighting design effect
Top Films Demographic Methodology

2021 THEME Report | Top Films Demographic Methodology Page 65

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 capacity 

changes.

Sample sizes are as follows: 

• 1st weekend –

• For Family titles, a minimum of N=1200 (which includes a mix of general audience, parents, and 

kids), 

• 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, and 

kids), 

• 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 of 

data 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 also 

characterize themselves as a member of the Caucasian race. Consequently, when forced to make only one selection, they will identify themselves as “Other” rather than 

choosing to only identify with one race or one ethnic group individually.
Average Time Spent Per Day Methodology

2021 THEME Report | Average Time Spent Per Day Methodology Page 66

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. This 

data is assessed and normalized to the eMarketer definition (i.e. 18+ U.S. population), and then aggregated to 

the 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 and 

activities 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 other 

connected 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
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/TM & © 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 ASSOCIATION

The Motion Picture Association, Inc. (MPA) serves as the global voice and advocate 

of the motion picture, home video, and television industries. It works in every corner 

of 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 to 

audiences 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.