REPLAY: Content Moves. Audiences Follow. Reelgood Shows Advertisers Where Both Are Headed.

Advertisers buy audiences. Audiences follow content. And content? It moves, constantly. Between platforms, between paid and free tiers, in and out of visibility. Reelgood has built a dataset that tracks all of it in real time, and in a live session today with State of Streaming, CEO David Sanderson took us under the hood of how it works and the insights streamers and studios are using to win.

Reelgood tracks where every movie and show is available across hundreds of streaming services — updated daily. The starting finding is striking: a household subscribed to the top eight streaming services can access only 12% of all movies that exist. The other 88% is somewhere else — on smaller platforms, unlicensed, or simply not surfaced.

"In that pile," Sanderson said, "are a lot of potential diamonds in the haystack."

What happens when content moves matters as much as where it lands.

Sanderson walked through the case of Loudermilk, a show that ranked 800th in popularity when it was on Prime Video. But when it moved to Netflix? Netflix put it in front of the right audience and it jumped to 8th most popular in the U.S. overnight. Same show. Same episodes. Different merchandising.

For advertisers, the implication is direct. If you're buying against a platform's content library, you need to know what's actually in it. Reelgood's data recently found 81 titles missing from the Prime Video Max channel — including Moonlight and Dune.

"Sometimes massive titles are missing," Sanderson said. That's inventory buyers think they're getting that isn't there.

Reelgood's availability data will be a factor in the May edition of our Unified Streaming Power Index. Look for content signal alongside household reach and CPM later this month.

Download the slide deck or watch the full replay to see the genre-by-genre breakdown, the catalog competitive intelligence framework, and the Squid Game halo effect data.