The research shows that UK viewers favour binge watching television series over waiting for new episodes each week, with 40 million people watching series back-to-back.
One third of the people binge watching episodes do so every week, and more than half do so monthly.
The study, included in the annual Communications Market Research 2017, has also shown a significant difference in viewing habits between younger and older audiences.
The eerie trailer begins with the four childhood friends Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Mike (Finn Wolfhard) and Will (Noah Schnapp) playing innocently on an arcade game.
The atmosphere quickly changes as Will Byers is momentarily transported back into the dark Upside Down world and faced with a much bigger threat than the terrifying Demogorgon.
When Andy Harries was planning what became drama specialist Left Bank Pictures, around a decade ago, experienced TV executives told him that he was backing the wrong horse. They said that drama – expensive, time-consuming and hard to get right – was in decline. Reality shows were the future.
Today, drama is booming as never before and, by some reckonings, Left Bank is responsible for a fifth of all the TV drama produced in the UK.
Adapted from novelist Harlan Coben’s story of the same name, the eight-part drama also stars Amanda Abbington (Sherlock, Crooked House).
The screenplay has been written by Bafta and Emmy Award winning writer Danny Brocklehurst (Ordinary Lies, The Driver, Shameless) and will stream globally on Netflix, apart from in France where it will be shown on Canal+.
Matthew Macfadyen returns for the final series of period drama Ripper Street.
Following the shocking murder of Inspector Bennet Drake, outlaws Edmund Reid, Homer Jackson and Long Susan join forces to avenge the death of their old friend - despite being hunted by the police themselves.
That was one of the main conclusions from an RTS early evening event, Is targeted advertising the future of TV?
A capacity crowd heard how the arrival of streaming services headed by Netflix and Amazon Prime plus the challenge from Facebook and Google are changing the dynamics of TV advertising.
Catch-up TV and the traditional broadcasters' own on-demand offerings are also driving change.
All this is posing problems for audience measurement, the bedrock of TV advertising for more than half a century.
In February of this year, Netflix won its first Oscar and its first Bafta. Surprisingly, the awards were not for any of its high-profile drama series, but for two documentaries. The Academy Award went to The White Helmets, a film about a group of Syria Civil Defence volunteer rescue workers. The Bafta winner was 13th, Ava DuVernay’s film about race in the US criminal justice system.
The End of the F***ing World is a menacing, tense and chilling tale starring Jessica Barden (The Lobster) and Alex Lawther (Black Mirror) as teen outsiders James and Alyssa, who embark on a road trip to find Alyssa’s father, who left home when she was a child.
Emotionally detached and disdainful James is convinced he’s a psychopath and he’s decided he is ready to take a step up from his dark habit of killing animals... to humans.
The show, which stars Jane Fonda and Lily Tomlin as the titular Grace and Frankie, follows two divorced 70-somethings whose mutual hatred gets put on hold when their husbands come out as gay.
The pair are forced into living together when their ex-husbands, played by Sam Waterston (The Newsroom) and Martin Sheen (The West Wing), decide to get married, and an unlikely friendship blossoms as the duo seek to navigate the next stage of their lives.
Like an entire generation of wildlife film-makers, Alastair Fothergill was drawn to television by David Attenborough. His 1979 series, Life on Earth, showed the young Fothergill that natural history programming was “a good way to be paid to be near animals”.
Fothergill, who was recently made a Fellow of the RTS, spent almost three decades at the BBC Natural History Unit (NHU). This included a five-year stint as head of department, when he landed several global hits, including The Blue Planet, Planet Earth and Frozen Planet.
