Speaking of the Mouse House, ratings analyst Parrot Analytics tell us that Doctor Who was the most in-demand UK-originating show with U.S. audiences during its early release, although it didn’t have enormous competition in this realm (Bridgerton counts as U.S.-originated while Baby Reindeer had been out for a month by the time Doctor Who launched). It was seventh on Disney+’s list of most in-demand series, Parrot adds, trailing the likes of The Simpsons and the Star Wars offshoots.
Considering its marketing might and budget, a senior U.S. ratings source positions these figures as “underwhelming,” although they acknowledge Doctor Who has long struggled attracting mainstream audiences in the U.S. “Okay but not stellar,” was the simple verdict from a Disney insider about the internal view on its performance.
All eyes now on the upcoming season, which is in the can and due to launch next year, along with a long-rumored set of spin-offs that comprise the new ‘Whoniverse’ including The War Between the Land and the Sea. Fans were delighted when this spin-off was alluded to in the ’73 Yards’ episode of the latest season and Deadline is told that shooting will commence in September.
One of our sources close to the production believes Disney will “need to make a decision” on its future relationship with the show soon after The War Between the Land and the Sea wraps, and this could have a bearing on how long the in-demand Gatwa — who will lead a West End production of The Importance of Being Earnest at the end of this — remains Doctor. Although the next season has wrapped, this source predicts the final episode has been left open-ended, with the possibility remaining open that Gatwa could regenerate into his successor if he chooses to exit. Gatwa’s agents hadn’t responded to Deadline’s request for comment by press time.
Sure, just the 2005-2023 series and specials would add to the attraction on Disney+. If they could offer almost 20 years’ worth of back catalogue that would make DW much more of an asset to them.
I don’t know how the international streaming rights look at the moment, I suspect it’s a bit of a patchwork? Some regions on one platform, some with another? I’ve sort of expected the BBC were waiting for old contracts to run out before dumping it all with Disney. It would just make sense to sweeten the pot for them to keep throwing money at new seasons.
Yeah, just looking at what’s available to me, “Classic Who” is on Tubi, the Eccleston through Capaldi years are on Prime Video, and I don’t think the Whittaker years or 1996 movie are available on any streaming service at all.
So I guess that’s a rough breakdown of how the rights are distributed?
And it’s been what, two-three years since the Disney partnership was announced? I guess that drives a stake through my assumptions. You’d think most of the existing deals would’ve run out in the meantime.
Yeah, I don’t know enough about the biz to know what the standard duration of these deals would be.
Also complicating things is the fact that some of these distributors are waking up (again) to the benefits of licensing some of their content to others, at least from time to time.
I didn’t know of that last part. So one licensee passes temporary rights to a third party?
Well, as an example, the Star Trek movies moved from Paramount+ to Max between January and May of this year. I think Disney has been coming around to licensing out more of their back catalogue, rather than hoarding it all for Disney+, as well.
Oh right, where the streaming platform is a direct storefront for the license holders. Got it.
But although, like you say, that may complicate the market, consolidating international DW rights with, say, Disney+ would still be an advantage for the BBC and viewers alike. Unless the Beeb are looking to make iPlayer an international platform…
I totally agree - I don’t see why Disney wouldn’t try to lock the back catalogue down.
The Sutekh synergy alone would have been very helpful.