The platform rankings, when read together, work almost like an X-ray of the audience’s emotional state — and, by extension, of the strategies studios activate when they need guaranteed attention.

This week’s list shows three clear movements: the strength of established IPs, the demand for darker emotional narratives, and a deliberate return to comfort, whether through comedy, nostalgia, or holiday films.

Source: FlixPatrol

NETFLIX — Blending comfort with collapse is still the most efficient formula

Netflix continues with its almost chaotic eclecticism: a Christmas romance here, a morbid thriller there, and right in the middle a Frankenstein remake holding down the lane of darker reimaginings. In Your Dreams and A Merry Little Ex-Mas confirm the appetite for escapism, while The Carman Family Deaths and The Little Things show that true crime and domestic suspense still magnetize clicks.

Furiosa appearing in the Top 10 is proof that when a big theatrical blockbuster lands on streaming, it almost always rises — lots of people who missed it in theaters “catch up” at home.

The double appearance of The Beast in Me confirms its near-cultural impact — part trauma study, part toxic romance, part character examination. Netflix viewers respond intensely to emotionally charged stories with addictive structure, and this series hits that balance perfectly.

Ayşe, You Stood By, Absentia, and Dynamite Kiss fill out a darker lineup, but the return of Stranger Things is a reminder that very few things rival the power of a brand that became pop mythology.

HBO MAX — Horror, irreverence, and premium adaptations define 2025

The audience is hungry for uncomfortable, intelligent, dense stories — and Weapons sits exactly in that elevated-horror space. Wicked and Arthur the King reflect the weight of theatrical releases, while The Last Duel and Kingdom of Heaven reinforce a curious trend: late-year audiences return to historical epics.

Premium horror keeps powering the platform: IT: Welcome to Derry confirms the franchise’s appeal, while I Love LA — now renewed for Season 2 — works as a hyper-contemporary lens on celebrity, chaos, and digital culture. It is extremely “of the now,” which explains why it resonates so well with young-adult viewers.

The Seduction — the reimagining of Marquise de Merteuil’s youth from Dangerous Liaisons — anchors the luxurious melodrama slot, while Harry Potter: Wizards of Baking signals the ongoing phenomenon of branded culinary spin-offs.

And although it has been a major success in Brazil (and Latin America), the much-anticipated series about Angela Diniz did not become a worldwide hit in its opening week.

DISNEY+ — The fusion of nostalgia and family-friendly content remains the engine of Disney’s streaming strategy

What stands out here is the harmonious coexistence of classics and upcoming blockbusters. The Freaky Friday sequel highlights the risk of streaming cannibalizing theatrical audiences who now prefer to wait and watch at home. On the other hand, The Devil Wears Prada ranking among the most-watched films says a lot about the eternal appeal of well-written adult comedy and the anticipation for the sequel, whose trailer exploded across social media.

Home Alone, How the Grinch Stole Christmas, and the new version of The Hand That Rocks the Cradle create an almost schizophrenic lineup: Christmas, childhood, and a 1990s thriller enjoying its own revival moment.

Your favorite guilty pleasure is right there at the top, proving that audiences love a show that embraces its own incoherence. All’s Fair is, theoretically, the “worst series of the year,” but clearly not in terms of viewership — it has been leading the charts since its debut.

High Potential, 9-1-1: Nashville and Would You Marry Me? reflect the continued appetite for procedurals, romance, and lighter drama. Grey’s Anatomy and Modern Family remain eternal pillars of comfort TV.

PRIME VIDEO — Tension, toxic romance, and young-adult universes dominate completely

Sorry, Playdate is garbage, but together with Our Fault, it confirms Prime Video’s appetite for stories of dysfunctional relationships, emotional revenge, and fluid moralities. Red One rides the holiday wave, and Ghostbusters: Frozen Empire captures the nostalgic family audience.

Hazbin Hotel dominates and reinforces the appeal of the irreverent. Prime continues cultivating its signature: frenetic adult animation that may alienate some, but completely hooks its fiercely loyal base. Maxton Hall, The Summer I Turned Pretty, and Yo Soy Betty la Fea confirm the strength of romantic teen narratives — a surefire engine for engagement.

Malice charting here confirms the show’s quiet ascent, mixing revenge and moral discomfort in a highly addictive package.

PARAMOUNT+ — The Taylor Sheridan empire remains intact

Paramount+ thrives on catalog films like Humane and Here After, coexisting with Top Gun: Maverick and Gladiator II, a clear sign that its audience seeks intensity, adrenaline, and complex protagonists.

But when it comes to TV, the answer is simple: Sheridan, Sheridan, Sheridan.

Yellowstone, Tulsa King, Landman, Mayor of Kingstown. It’s practically a mini-universe inside the platform. Even older series like Charmed and Sabrina keep appearing — another reminder that comfort TV is a universal safe harbor.

APPLE TV+ — The streaming service that most reflects curation and critical identity

Mark Wahlberg’s continuation of The Family Plan falls firmly into the territory of traditional Hollywood franchises: you know the beats, the jokes, the open-ended finale teasing more to come — a more-than-established formula. And it works, doesn’t it?

Because Apple’s audience is very particular, you’ll see them consuming an action blockbuster but also gravitating toward intimate dramas like the documentary Come See Me in the Good Light, which has been steadily growing. My interview with Megan Falley will be here on the blog soon. Apple originals make a consistent impact, but it’s the smaller dramas that generate conversation.

As for series, the Apple ecosystem is at its peak. The conclusion of The Morning Show bordered on the epic, and newcomers Pluribus and Down Cemetery Road confirm that 2025 audiences want political thrillers and denser investigative narratives — and Apple delivers that with rare sophistication.

Slow Horses, Palm Royale (with a new season), and Severance sustain an exceptionally strong ranking. It’s almost a masterclass in brand management: each show serves a niche, but all of them carry Apple’s unmistakable aesthetic signature.

What does all this say about 2025?

That emotional escape and nostalgia dominate every service. That prestige horror is the new jewel of streaming in the second half of the year. That psychological thrillers about moral gray zones remain at their peak. That franchises and older IPs are still the financial backbone. And, of course, that comfort TV (Grey’s, Modern Family, Betty, SpongeBob) is omnipresent — perhaps an antidote to the chaos?

One thing is certain: Stranger Things is coming to shake up the rankings.

Miscelana Top 10

1 — The Morning Show (Apple TV+)
2 — Down Cemetery Road (Apple TV+)
3 — The Beast in Me (Netflix)
4 — Landman (Paramount+)
5 — Billy the Kid (MGM+)
6 — Robin Hood (MGM+)
7 — Frankenstein (Netflix)
8 — Murdaugh: Death in the Family (Disney/Hulu)
9 — All’s Fair (Disney/Hulu)
10- Malice (Amazon Prime Video)