The critics hate it – but that hasn’t stopped MrBeast’s Beast Games from becoming Amazon Prime Video’s most-watched unscripted series ever. According to Prime, the heavily-backed show generated 50 million viewers in the 25 days after launch (December 19). The 10-episode series is scheduled to end on February 19.
The Telegraph called Beast Games “$100 million worth of charmless YouTube nonsense” but that hasn’t stopped audience tuning in. In addition to being the platform’s number one unscripted series of all time, it was also the platform’s number two series debut of 2024, beaten only by the post-apocalyptic drama Fallout.
The good news for Prime Video doesn’t stop there. According to the platform, the show is proving very international, with 50% of viewers have outside the US. Echoing the profile of MrBeast’s phenomenonally successful YouTube channel, the show is generating a lot of interest in the UK, India and Mexico.
At this stage, it’s too early to say whether the performance of Beast Games represents a paradigm shift in terms of the relationship between digital first talent and the streaming ecosystem. The show’s success may be down to the novelty factor of YouTube talent taking over a mainstream subscription platform.
That said, there’s growing evidence that social communities are willing to pay for content on adjacent platforms. Inoxtag’s box office success with Kaizen and Netflix’s viewing figures for Jake Paul’s fight with Mike Tyson are other recent indicators.
The big thing to look out for in coming days is whether a second series on Beast Games gets commissioned. Keep in mind this is not just a question for Amazon, but also for MrBeast – who has his core YouTube audience to protect. He will need to be convinced that his outing on Prime Video hasn’t dented his YouTube status.
Further into 2025, the intriguing question for streaming platforms is whether they extend their investment in digital first talent. Netflix has linked up The Sidemen and Ms Rachel in recent times, but expect more aggressive activity from the streamers.
At the same time, YouTube must be asking itself if there is a missed opportunity. Is there a way to convince its top talent to stage paid-for events/series in-platform?
