YouTube Trends Analysis

Marvel Entertainment

Data recorded at time of publication

Between 20 and 26 July 2026, six videos were enough to occupy most of the global ranking, and every one of them announces something. San Diego Comic-Con, the restart of the video-game calendar and two streaming platforms concentrated their reveals into the same forty-eight hours. Here is the chronology of that week and what each announcement actually achieved.

Lagui

Data recorded at time of publication

The global ranking suggests a uniformity that national charts immediately contradict. On 26 July 2026, five major countries display five number-one videos sharing neither format, nor channel type, nor order of magnitude in audience. This guide explains how to read each of those first places, and what it reveals about the way a country actually uses YouTube.

Marvel Entertainment

Data recorded at time of publication

Across all our snapshots, Marvel Entertainment is the leading channel: 280 trending appearances, 55 countries reached, a peak of 48,068,780 views. Those numbers still understate its real influence. A week after the Avengers: Doomsday trailer went online, four other videos in the global top talk about nothing else, across four different channels and three languages. What follows is not the portrait of a broadcaster. It is the portrait of a raw-material supplier.

EA SPORTS FC

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Two videos sit two countries apart at the top of the global ranking. The EA Sports FC 27 trailer appears in 64 countries, JENNIE’s Less than a Lover video in 62. Everything else separates them: the first has 3,603,055 views and a 7.6 average rank, the second 5,333,411 views and a 13.2 average. Comparing them means comparing an inherited audience with a conquered one.

EA SPORTS FC

Data recorded at time of publication

The 26 July 2026 snapshot produces a global ranking of unsettling regularity. Among the ten videos present in the largest number of our 72 tracked countries, nine are trailers for games, films or series. The single exception is a music video, JENNIE’s Less than a Lover. This ranking does not measure what people watch the longest. It measures what marketing teams manage to place everywhere on the same day.

LyricHype

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Yandel’s Encantadora is trending on YouTube in 10 countries through a lyric upload from LyricHype. Today’s snapshot counts 174,977 views for this version, a modest total by platform standards but concentrated enough to place a 2015 song beside 2026 releases. This is more than a nostalgic accident. It shows how Latin catalog music now travels through routes that the original campaign no longer controls.

Charli xcx

Data recorded at time of publication

Today’s worldwide ranking offers more than superheroes and Minecraft. Further down the list, four music videos draw a far more interesting map, moving from British pop to Hindi film music, then Levantine pop and instrumental house. This guide is arranged by mood rather than prestige. None of these choices requires prior knowledge before pressing play.

Amr Diab

Data recorded at time of publication

This week’s recommendation is not the most viewed video in the ranking, which is exactly why it deserves attention. Amr Diab’s Habeitek appears in 8 countries with 389,511 views at the time of today’s snapshot, yet its average position is 6.6. It has not spread everywhere, but it matters greatly wherever it has landed. That is a more revealing signal than a giant view counter built mainly in one market.

Unique Vibes

Data recorded at time of publication

The One That Got Away is returning to YouTube trends through a lyrics video published by Unique Vibes. It appears in 21 countries with 1,100,510 views and a 27.2 average rank. Katy Perry’s song dates from 2010, yet its new circulation comes through neither the official channel nor a reissue.

DC

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Clayface covers 45 countries with 2,964,595 views and a 12.5 average rank. Other Mommy reaches 33 countries, 7,777,210 views and a 13.5 average. One wins geography, the other volume. This comparison shows why a view counter alone cannot measure a worldwide trend.

Universal Pictures

Data recorded at time of publication

A weekend does not always require a full film. Sometimes four carefully chosen trailers are enough to decide what you want from the coming months. The ranking offers an unsettling mother, a stubborn actor, a broken Batman and a mysterious movie star. Here is the program by mood.

FlameFrags

Data recorded at time of publication

Gaming does not have one global language. It has global mechanics adapted by local creators. This top ranks ten previously uncovered videos by country coverage, then average position. Minecraft dominates, while Roblox, Papers Please and Meccha Chameleon reveal a much less uniform landscape.

DC

Data recorded at time of publication

Our pick of the week is Clayface. DC’s official trailer appears in 45 of the 72 countries tracked, with a 12.5 average rank and 2,964,595 views at collection time. Only the Avengers video covers more markets. For a character long confined to Batman’s shadow, the change of scale is striking.

Paramount+

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Twenty years after Nickelodeon's cult animated series, the Avatar universe proves it has lost none of its firepower. The trailer for Avatar Aang: The Last Airbender is approaching 9 million views and appears in the trending charts of 18 countries, very-big-franchise numbers for a license some might have assumed dormant. Except this license never really sleeps, and that is the whole secret. The generation that grew up with the show is now of prime online-content-consuming age, and its community never stopped being active, theories, animatics, analysis videos, commented rewatches. Add the backing of a studio that made the license a strategic pillar, and you get ideal ground for a return to the front row. The trailer's international performance, from France to Indonesia, also underlines a specificity our data confirms regularly. Animation travels without cultural barriers. Unlike star-driven blockbusters whose fame varies by continent, an animated film speaks the same language everywhere, the language of its images. Studios have understood this well, and the calendar of major animated releases has never been as packed as this decade. The real question remains, the one stirring the comments since upload. Can this film honor a series regularly cited among the best animated works ever produced? Fans have lived through one painful adaptation before, and their current enthusiasm comes mixed with veteran vigilance. The studio has been warned, the Avatar does not forgive twice. Verdict in theaters. One detail deserves attention once these numbers are placed alongside the other videos covered here. With nearly 9 million views, the Avatar Aang trailer far outstrips the Marvel's Wolverine trailer or BTS's NORMAL video, both of which sit around 900,000 views. Yet it appears in only 18 countries, where those two cover 24 and 30 respectively. That is the narrowest spread we recorded for a trailer of this size in our sample. Nostalgia works as a volume engine, not as a distribution engine. It mobilizes intensely wherever the series marked a generation, and stays silent everywhere else. A global franchise and a global audience are not the same thing, and the gap between the two reads here in almost pure form.

T-Series

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Nearly 4 million views for a simple lyrics video. Not a music video, not a performance, words scrolling over an image. Adiye En Poonthene, from the Tamil film Jana Nayagan, illustrates better than any statistic the power of the Indian market on YouTube, that continent of audience Western analyses persist in underestimating. The track is carried by the exceptional fervor surrounding Vijay, a Tamil cinema superstar turned front-rank political figure, as the video's own title reminds us by referring to him through his official function. Few countries in the world maintain this bond between cinema, music and public life, and that entanglement gives Indian musical releases a resonance far beyond entertainment. T-Series, the largest YouTube channel in the world with its hundreds of millions of subscribers, industrialized this format long ago. Every major film gets broken down into lyrics videos, teasers and clips that monopolize national trends for weeks, feeding a content machine whose pace would make any Western studio blanch. Film music remains the beating heart of Indian YouTube, and no streaming platform has managed to change that reality. For Western audiences, these scores generally go unnoticed because they rarely cross linguistic borders. Our data nonetheless recalls a stubborn truth, the biggest viewing volume on the planet is generated neither in Los Angeles nor in Seoul, but between Chennai and Mumbai. Anyone claiming to understand YouTube without looking at India understands only a fraction of the picture, and not necessarily the largest one. A word on what our numbers do not say here. The country counter, the one indicating how many of our 72 tracked markets a video appears in simultaneously, stays silent for this release. That is not a sign of weakness, it is a limitation of the tool. A Tamil lyrics video is not trying to cover forty countries, it is trying to saturate a market that alone holds more users than the whole of Europe. Compare with BTS's NORMAL, present in 30 countries for under a million views, and the contrast becomes clear, two opposite strategies, two ways of existing on the same platform. Our country rankings describe distribution, they do not describe depth. For India it is depth that counts, and that is precisely where the planet's largest viewing volume is decided.

Kai Cenat Live

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Kai Cenat is no longer just the most watched streamer of his generation, he is becoming a full-fledged program producer, and this trailer's numbers confirm it spectacularly. The trailer for Class Of 2026, the new intake of his Streamer University concept, has gathered 2.7 million views and appears in the trending charts of 21 countries. For a format born on Twitch and designed first for an American audience, that international reach says plenty. The concept deserves explanation for anyone who missed the first edition. A very real campus, selected young creators coming to learn the craft under permanent cameras, classes, trials, eliminations. It is an assumed cross between reality TV and college, with the fundamental difference that the diploma pursued here is a content creation career. The first edition generated record audiences, the second is shaping up even bigger. What this launch tells us goes far beyond the Kai Cenat case. We are watching, live, the shift from entertainment created by platforms to entertainment created by individuals. A streamer show trailer now competes, in raw numbers, with those of the Hollywood studios present the same day in our global ranking. Five years ago, that sentence would have sounded absurd. Television networks have spent years searching for the recipe to reach the young audience that deserted them. Meanwhile, a twenty-three-year-old streamer builds a fictional school and fills the trends of 21 countries. Maybe the answer was there all along, it just had to come from somewhere else. The class of 2026 is starting the year, and apparently everyone wants a seat at the back of the lecture hall. The relationship between the two figures is worth pausing on. 2.7 million views and 21 countries is exactly the same geographic spread as the Kanye West / Sedaya Noch remix covered elsewhere in these pages, and more than the Avatar Aang trailer, which tops out at 18 countries despite three times the views. In other words, a streamer's show now travels as widely as a studio feature, on a smaller volume. That is the statistical signature of creator content, a scattered, highly engaged audience, largely independent of release calendars and territorial distribution deals. Studios buy coverage with promotion budgets. Kai Cenat gets it because his audience already existed everywhere before the show did.

Focus Features

Data recorded at time of publication

More than 10.4 million views and a trending presence in 24 countries. The trailer for The Uprising delivers one of the best trailer launches of the summer, and the most surprising part is finding Focus Features behind those numbers. The studio, more accustomed to arthouse cinema with measured reach, achieves a worldwide breakthrough here worthy of Hollywood's biggest machines. That synchronized explosion across countries as different as Mexico, Germany and Indonesia is explained first by a release strategy. A simultaneous drop across all markets, rather than a staggered territory-by-territory rollout. The trailer has become a cultural event in itself again, dissected frame by frame weeks ahead of the September 11 theatrical release, and the studios who understood that play the single worldwide event card. Industry analyses increasingly correlate a first trailer's YouTube performance with opening weekend box office. If the correlation holds here, theater operators worldwide can rub their hands, ten million views in a few days for a film belonging to no established franchise is the kind of signal that does not lie. Beyond this particular case, the success shows there is still room in the landscape for original propositions carried by smart marketing. Between the sequels, remakes and extended universes saturating the calendar, watching a brand-new title settle into the global top feels like a small victory for everyone, viewers included. See you September 11 for confirmation in theaters, and until then, the 24 countries clearly have something to loop while they wait. A comparison explains this performance better than an isolated figure. Among the videos covered here, two other titles sit in the same volume range, WERWULF, also from Focus Features, with 15 million views, and Dune: Part Three with 15.2 million. But the first covers 47 countries and the second 64, against 24 for The Uprising. The studio therefore nailed its launch in volume without reaching the ubiquity of established franchises, which makes sense for an original title with no preexisting universe. Geographic coverage is built on recognition, a Brazilian viewer clicks on Dune because they saw the first two films. Volume, by contrast, can be obtained in a day. That is the nuance these 24 countries carry, and it takes nothing away from the success, it simply places it.

HYBE LABELS

Data recorded at time of publication

It took only a few hours. Uploaded on a Saturday morning at 4am GMT, BTS's NORMAL video immediately settled into the trending charts of 30 countries, from South Korea to Brazil to France, Egypt and Japan. It is the widest geographic coverage we measured this week, and giant's privilege, it was built before half the planet had even woken up. This tidal wave is obviously no accident. Every comeback from the group triggers perfectly oiled machinery, ARMY coordinates streaming from the very first minute to maximize opening records, the counters go wild, and media worldwide relay the numbers which in turn feed the machine. We know the score by heart, it remains impressive at every performance. What strikes more with NORMAL is the contrast between the deliberately understated title and the planetary scale of its reception. Where most K-pop releases first dominate Asia and Latin America before maybe reaching the rest of the world, BTS remains one of the very few acts able to light up trends simultaneously in the Middle East, Europe and North America. Almost nobody else can draw that particular map. The lesson goes beyond the BTS case. In today's YouTube ecosystem, no marketing campaign, no algorithm, no budget yet rivals a structured, loyal worldwide fanbase. Platforms change, formats evolve, fashions pass, but that truth has held for ten years. And as long as it holds, every video from the group will open with the same spectacle, a world map lighting up in real time. The anomaly formed by these two figures side by side deserves measuring. With 922,000 views at the time of the snapshot, NORMAL is, together with the Marvel's Wolverine trailer, the least viewed video among all those covered in these pages. And yet its 30 countries place it ahead of The Uprising and its 10.4 million views, ahead of the Shrek 5 teaser, ahead of Avatar Aang. A music video watched ten times less than a Hollywood trailer appears in more national charts. This is the sharpest demonstration our data produces, trending does not reward raw volume but simultaneity. Thirty national fanbases clicking within the same hour weigh more, in a country-by-country ranking, than ten million views spread across a single market.

PlayStation

Data recorded at time of publication

Awaited since its surprise announcement in 2021, Marvel's Wolverine is finally back in the conversation, and its Ain't No Hero trailer climbed into the trending charts of 24 countries. The raw number, just over 900,000 views on the PlayStation channel, might look modest next to the ranking's musical juggernauts. It actually tells a completely different story. As often in gaming, the official video is merely the epicenter of a much wider shockwave. Filmed reactions, frame-by-frame breakdowns, dissections of the smallest gameplay detail, the galaxy of derivative content multiplies the real audience tenfold at minimum. A game trailer is not watched, it is collectively dissected, and this one fed hundreds of channels in its release week. The simultaneous presence in markets as varied as Japan, Brazil and Saudi Arabia confirms the special status of PlayStation exclusives in our data. They are among the only video game contents able to generate a synchronized worldwide event, where the rest of YouTube gaming lives essentially through local creators and national communities. Sony has turned its releases into planetary appointments, on par with cinema blockbusters. For Insomniac Games, already behind the Spider-Man titles that sold consoles by the pallet, the stakes go beyond commercial success. Turning Marvel's most feral mutant into the next PS5 seller, that is the mission. The trailer's tone, markedly darker and more violent than the spider's adventures, suggests the studio fully embraces the difference. The claws are out, and the world clearly wants to see it. Those 909,000 views deserve some perspective. It is the smallest volume among all the videos covered in these pages, just behind BTS's NORMAL and its 922,000 views. Yet both appear in a comparable number of countries, 24 and 30. The pairing is instructive because the mechanisms have nothing in common. BTS mobilizes fanbases clicking at the same instant across every continent. PlayStation relies on a console install base spread fairly evenly across some forty solvent markets. In one case simultaneity comes from fervor, in the other from commercial infrastructure. The ranking puts them on the same line, which is both the strength and the limit of an indicator that only measures presence.

ThatMob

Data recorded at time of publication

Here is the kind of phenomenon only YouTube knows how to produce. Something Won't Let You Leave by ThatMob has gathered 10 million views riding the Minecraft horror wave, that strange subgenre where the best-selling game in history becomes the setting for genuinely unsettling stories. Yes, you read that right, horror stories in the world of little cubes. The principle behind these narrative experiments is smarter than it looks. Hijack a familiar, reassuring universe, the one where millions of children built their first houses, and inject dread into it. An entity that prevents you from quitting the game, structures appearing without explanation, game rules breaking one by one. The contrast between childlike imagery and invisible menace produces a peculiar chill that classic horror cinema struggles to match. It is Herobrine 2026, Minecraft folklore reinventing itself for a new generation. The numbers confirm the vein is anything but anecdotal. 512,000 likes, and above all a 25-minute format that keeps its audience captive from start to finish, a retention feat every creator on the platform dreams of. Long videos that hold their public are worth gold in the algorithm's eyes, and this one is a textbook case. ThatMob demonstrates along the way that horror storytelling in Minecraft is no passing gimmick. It has become a genre in its own right, with its codes, its star creators and a worldwide audience asking for more. Fifteen years after release, Minecraft is no longer a game, it is a language. And apparently you can tell anything with it, even nightmares. One last figure deserves reading, or rather its absence. This video triggers no multi-country presence signal in our snapshots, where MrBeast's If You Build It, I'll Buy It, another Minecraft video, appears simultaneously in 30 countries with 27 million views. Both belong to the same game universe, they do not travel the same way. ThatMob's narrative format rests on a voice, a story, a language, all elements that stop a video at the linguistic border. MrBeast, by contrast, builds sequences understandable without a word of commentary. Ten million views in one market or twenty-seven spread across thirty, both are successes, but only one of the two converts into worldwide coverage, and the gap owes a great deal to the editing.

BABYMONSTER

Data recorded at time of publication

53 million views in six days. The K-pop machine is running at full throttle, and BABYMONSTER confirms with every release that they have become one of the most powerful groups of their generation on YouTube. I LIKE IT ticks every box of the summer comeback, sailboat, turquoise sea, sun-drenched aesthetics, light-years from the dark energy that launched the group. And that turn is exactly what makes the video interesting. The YG Entertainment girl group, often presented as BLACKPINK's direct heir, allows itself a luminous softness nobody had seen from them. That kind of course change always divides fandoms, purists miss the early intensity while newcomers discover the group through its most accessible side. The numbers settle the debate in their own way, 743,000 likes and a massive presence in the global trends. The machinery of K-pop success on YouTube remains a show in itself for anyone following our data. An ultra-organized international fandom blows up the counters within the first hour of upload, then views accumulate in successive waves as each time zone wakes up and takes over. A planned tidal wave, time zone by time zone, with near-military precision. BABYMONSTER plays this game to perfection, and with 12.6 million subscribers on the counter, every release is now a guaranteed worldwide event in advance. The question is no longer whether their videos will dominate the trends, but how long they will stay there. For artists whose career started such a short time ago, that status says everything about the pace at which K-pop now manufactures its giants. Placed alongside the other videos covered here, this score situates the group precisely. 53 million views is the second largest volume recorded in these pages, behind IShowSpeed's 66 million and ahead of the 38 million of the LE SSERAFIM x ILLIT x KATSEYE collaboration. Three videos, three audiences, and one shared lesson, raw volume says nothing about distribution. The most widely spread content in our snapshots sits elsewhere, Dune and Chainsaw Man at 64 countries, Stray Kids at 59, on view counters that are often far lower. BTS's video analyzed elsewhere in these pages pushes the logic to its extreme, 30 countries for under a million views. Two ways of dominating, and two numbers that should never be confused.

Warner Bros.

Data recorded at time of publication

64 countries. That is the number that says it all. The trailer for Dune: Part Three is not merely trending, it has invaded YouTube across the entire world, 15.2 million views in two days and more than 54 hours in the global top. Few trailers reach that coverage in our data, and the ones that do all belong to the same category, saga conclusions the public awaits like appointments with film history. Denis Villeneuve closes his trilogy on December 18, and the trailer's tone sets the stage. Forgive me for all I've done, says Paul Atreides, no longer the young hero of the first two films but an emperor whose choices unleashed a holy war across the galaxy. Adapting Dune Messiah, Frank Herbert's darkest and most critical novel, the one that dismantles the savior myth the first book seemed to build, is a daring bet for a blockbuster this size. But if any filmmaker has earned the right to attempt it, it is Villeneuve. The first two installments proved a worldwide audience could follow demanding, uncompromising science fiction, and reward it at the box office. The planetary success of this trailer confirms that audience will show up in December, probably in force. Shot for IMAX, naturally, because at this point in the saga the question no longer even arises. See you in the biggest theaters available for the conclusion, and until then, the 64 countries have plenty to theorize about, the trailer is packed with shots that fans of the novel are already dissecting frame by frame. These 64 countries deserve to be placed in context. Among all the videos covered in these pages, only one other piece of content reaches that level of coverage, the second trailer for Chainsaw Man's Assassins arc, also present in 64 countries. Only two titles clear that bar. And the pairing is revealing, a science fiction trilogy conclusion and a Japanese animation arc, that is to say two works whose audience was assembled before release, through reading or through earlier episodes. No marketing campaign manufactures that kind of coverage in a few days, it settles slowly, season after season. The 15.2 million views are impressive, but it is the second number that tells the real story, that of an expectation accumulated over years in sixty-four countries at once.

Universal Pictures

Data recorded at time of publication

6 million views for a trailer that shows practically nothing, just a date and a few seconds of atmosphere. This countdown trailer for The Odyssey confirmed one thing even before the film's release, the entire world is waiting for Christopher Nolan, and the smallest sign of life from his project triggers a stampede. The pitch of the century fits in one line, Nolan adapts Homer's Odyssey. A 2,800-year-old text, an epic of sea, monsters and homecoming, entrusted to the director of Interstellar and Oppenheimer. On paper it is the most ambitious project of his career, and Universal opened every door after his Oscar triumph. Expectations match the enormity. One detail sparked plenty of comment-section discussion, the film is rated R in the United States for violence and language. Nolan clearly has no intention of softening Homer, and that is probably excellent news. The original Odyssey is a brutal text, filled with massacres and terrifying creatures, far from the schoolbook imagery sometimes attached to it. The adult audience targeted here should get the poem rather than its watered-down version. The trailer's presence in 45 countries illustrates a phenomenon reserved for a handful of filmmakers. Nolan is among the last directors whose name alone creates a worldwide event, with no franchise or preexisting character to carry the promotion. When a one-minute countdown generates these numbers, you can measure what the film itself will produce. The rest belongs in theaters, on the biggest screen you can find, as always with him. The relationship between the two figures is the most remarkable thing here. Six million views and 45 countries means that a one-minute piece showing almost nothing achieves wider coverage than The Uprising trailer with its 10.4 million views across 24 countries, or the Shrek 5 teaser, also at 24. In our snapshots, only WERWULF with 47 countries, and Chainsaw Man and Dune with 64, do better. A countdown containing no footage therefore achieves international reach that most full trailers never manage. That is the signature of a proper name that has become a franchise in itself, a case our data records rarely, and one it shares here only with Robert Eggers.

Focus Features

Data recorded at time of publication

15 million views in four days, a presence across 47 countries, and only one possible explanation, Robert Eggers is back. WERWULF, his new film expected at Christmas, just proved that American cinema's most radical filmmaker now commands a worldwide audience watching his every move. The trailer shows almost nothing, a dark forest, a silhouette, an atmosphere that takes your breath away. And that is precisely why it works. Eggers has mastered the art of selling a film by revealing the strict minimum, betting on mood rather than a catalog of shock scenes. The title alone does the work, that old spelling of the word werewolf promising a medieval plunge only he knows how to deliver. For those discovering the man, a quick inventory is in order. The Witch in 2015, The Lighthouse in 2019, The Northman in 2022, a short filmography of total coherence, each project pushing historical reconstruction and formal rigor further. The 132,000 likes on this two-minute trailer are his faithful audience waking up, the viewers who go to theaters specifically for this kind of proposition. Focus Features knows what it holds, and the tagline shows it, Do not dread the darkness. Embrace it. Calibrated to loop through the horror community by December, it is already there. See you at Christmas to check whether the film keeps the teaser's promises, and keep an eye on awards season right after. Eggers has never missed yet, and nothing in these two minutes suggests the streak is about to end. An internal comparison sheds light on this result. Focus Features launched two trailers during the period these pages cover, WERWULF and The Uprising. The volumes are close, 15 million views on one side, 10.4 on the other. The coverage has nothing in common, 47 countries against 24. The same studio, with comparable resources, therefore achieves twice the international reach for an arthouse horror film than for a more mainstream title. The explanation likely lies with Eggers's audience, a transnational horror community, highly active online, which functions as a fandom in the strict sense and behaves on YouTube like music fandoms, clicking everywhere at the same moment. Genre travels, where mainstream storytelling often stays tied to its home market.

Genshin Impact

Data recorded at time of publication

3.1 million views in four days and above all 280,000 likes, an engagement ratio even the biggest music videos eye with envy. For the Genshin Impact community though, these numbers are no surprise. Snezhnaya is the appointment players have been waiting for since the game's very first day. A quick primer for the uninitiated. Snezhnaya is the nation of the Fatui, the faction pulling the plot's strings from the beginning, ruled by the mysterious Tsaritsa and home to characters fans have theorized about since 2020, Signora, Pierro, Arlecchino. Every narrative arc of Genshin pointed toward this destination. So when HoYoverse publishes a cinematic video over five minutes long titled Sudden Snowfall, with the official GenshinSnezhnaya hashtag, it is no longer a rumor, it is an announcement in due form. The chosen format says everything about the moment's importance. These transcendence videos, pure cinematics without a second of gameplay, HoYoverse reserves for the milestones that truly matter in the game's life. They exist to set a mood, plant the lore, and raise the temperature of an already boiling community. Mission accomplished, judging by the counters and the thousands of analysis videos that appeared in the wake. The like count deserves one last reading. Genshin's player base is massive but notoriously selective about what earns its engagement. 280,000 thumbs up on a lore video means even paused players are coming back for news. That leaves the question on everyone's mind, the date. The video gives none, but this type of official communication usually precedes an announcement by a few weeks. Watch this space closely. The relationship between these two figures is one of the most striking recorded in these pages. 3.1 million views is modest, barely more than the Shrek 5 teaser. But 42 countries is more than The Uprising with its 10.4 million views, more than Spider-Man: Brand New Day with its 27 million. A live-service game therefore achieves wider international reach than two Hollywood blockbusters, with ten times fewer views. That is the defining trait of these player communities, they are spread evenly across the planet, they follow official announcements at the same moment regardless of time zone, and they need no translation to understand that a five-minute cinematic amounts to an announcement. Few pieces of content achieve this coverage on such a modest volume.

Universal Pictures

Data recorded at time of publication

He is back. After more than twenty years away from the big screen, Shrek returns to duty, and Universal's teaser set YouTube on fire within twelve days. 2.9 million views, 70,000 likes, a top-trending presence in 24 countries and more than 122 cumulative hours in the worldwide charts. For a 1 minute 21 video without a single confirmed release date, that is a rare performance. The teaser plays a minimalist score, perfectly executed. No dialogue, no earth-shattering reveal, just an atmosphere, a mysterious book and the implicit promise that Far Far Away is about to resurface. Universal knows exactly who it is talking to, the generation that grew up with the green ogre in the 2000s and never really stopped quoting him. A bet on pure emotion rather than noisy fan service, and it works. Because Shrek is not a franchise like the others, it is a global common language. The memes, the internet references, that near-universal nostalgia crossing cultures, all of it kept the license alive for two decades without a single new film. The simultaneous trending presence in France, Germany, Japan and Brazil confirms the ogre's call reaches far beyond English-speaking borders. The original cast is expected back, Mike Myers, Eddie Murphy and Cameron Diaz leading, for a saga that has generated more than 3.5 billion dollars at the box office. If a simple teaser already produces these numbers, one hardly dares imagine what the full trailer and then the theatrical release will do. The swamp is far from done making noise. One figure in this article deserves isolating, the 122 cumulative hours in the worldwide trends. That is a duration, not a peak, and it is where the teaser genuinely stands apart. With 2.9 million views it posts the lowest volume of any trailer covered in these pages, far behind Dune's 15 million or Spider-Man's 27 million. But it stays parked, day after day, where far more watched trailers vanish from the charts within forty-eight hours. Nostalgia does not produce an explosion, it produces a trail. It does not mobilize a fandom at a single instant, it picks up viewers one by one through recommendations, over weeks. Two different mechanics, and a daily ranking that, unlike a view counter, knows how to tell them apart.

JYP Entertainment

Data recorded at time of publication

59 countries. Our data records few music videos capable of such coverage, and Stray Kids is turning it into a habit. RUN IT gathered 16.7 million views this week, nearly 57 hours in the global top, confirming the JYP group's status among K-pop's most consistent forces on YouTube. The video itself leans on a recipe the group has mastered to perfection, dark aesthetics, millimeter-precise choreography, black and white contrasts reinforcing the track's dramatic energy. Stray Kids built its identity on that almost physical intensity, against the brighter sounds dominating the genre, and the differentiation pays off, no other group occupies exactly this lane. The success machinery remains fascinating to watch in our numbers. An ultra-organized international fandom blows up the counters within the first hour, then views accumulate in waves as each time zone wakes up. The format is calibrated for virality down to the smallest detail, striking visuals, punchy chorus, choreography easily shareable in short clips across every platform. You could dismiss it as marketing engineering, and you would miss the point. Stray Kids' consistency in our rankings, release after release, year after year, tells of a real connection with a worldwide audience that does not stream out of fandom duty alone. The groups that last in K-pop are the ones that turn mobilization into loyalty, and judging by these 59 countries, that transformation happened long ago. These 59 countries place the video in a very small club. Among all the videos covered in these pages, only Dune: Part Three and the Chainsaw Man trailer do better, at 64 countries each. But the comparison stops there, those two are carried by universes built over several years, novels, previous films, an earlier season. RUN IT has none of that, it is a fresh release whose coverage is built within hours. The most telling comparison lies elsewhere, in the 30 countries of BTS's video and the 13 of the LE SSERAFIM x ILLIT x KATSEYE collaboration. On the single criterion of geographic reach, Stray Kids comfortably outperforms K-pop releases that were watched far more. The consistency this article describes reads first of all right there.

Davuiside

Data recorded at time of publication

Here is the kind of cultural object impossible to predict, yet one YouTube produces regularly. An edit by Davuiside marrying Kanye West's universe to Sedaya Noch, a classic of 1980s Russian song, ending up with 7.3 million views and a trending presence in 21 countries. On paper, nobody would have bet a cent. On screen, everything becomes obvious. The remix runs on a powerful contrast, American hip-hop culture on one side, post-Soviet melancholy on the other, two nostalgias that had nothing to say to each other yet answer one another perfectly. The edit adds a highly identifiable visual direction, backlit silhouettes, dramatic black and white, monumental performance shots. You recognize the video within two seconds in a recommendation feed, and that is exactly what makes lasting successes on the platform. The 109 hours spent in the top confirm the phenomenon reaches beyond sharing among connoisseurs. This melancholy mashup aesthetic, born in the corners of YouTube and Russian platforms, now touches a global audience that does not need to understand the lyrics to feel the mood. Emotion travels better than language, the counters prove it once again. These unclassifiable successes are a precious reminder, YouTube remains a space where unknown creators can still invent forms nobody expected, and reach twenty countries without a cent of marketing. Between two Hollywood trailers calibrated to the millimeter, it feels genuinely good to watch the algorithm reward a strange and sincere idea. Long may it last. What these 21 countries are worth deserves spelling out. It is more than the Avatar Aang trailer, which covers only 18 with the backing of a studio and a twenty-year-old franchise. It matches Kai Cenat's Class Of 2026 trailer, and falls barely short of the Shrek 5 teaser or the Marvel's Wolverine trailer, both at 24. In other words, an edit made by a lone creator achieves the same international reach as launches steered by Universal, Sony or PlayStation. The 109 hours spent in the top say the same thing another way, this video stayed in the trends longer than most trailers from the same period. In our data, the gap between industry and amateur is not where you would expect to find it.

MAPPA CHANNEL

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6 million views in six days, a presence across 64 countries, and a worldwide community in full boil. The second trailer for Chainsaw Man's Assassins arc confirms what the first one hinted at, MAPPA is preparing something very big, and fans across the planet fully intend to show up. To set the stakes for those not following Tatsuki Fujimoto's manga, the Assassins arc marks a turning point in the story. More complex antagonists, stylized violence pushed to its peak and stakes beyond anything the first season showed. It is the moment readers have been waiting to see animated, the one they spent years wondering how any studio would dare bring to the screen. MAPPA's answer, visible in every shot of this trailer, fits in one word, ambition. The art direction climbs another notch above the first season, with animation that seems intent on pushing the limits of what Japanese television can produce. The studio, already famous for sparing neither its teams nor its resources on flagship titles, is playing a major card from its catalog here. The 64-country spread deserves a pause, it is one of the widest coverage scores recorded in our data this season, all content included. Japanese animation stopped being a niche long ago, but Chainsaw Man belongs to that restricted category of licenses able to mobilize Tokyo, São Paulo and Paris simultaneously. See you at broadcast time to check whether the promise holds. Given the trailer's level, worry is not really on the menu. The detail that makes this score exceptional is not the coverage alone, it is its ratio to volume. Dune: Part Three also reaches 64 countries, but with 15.2 million views, two and a half times more than this trailer. At equal coverage, Chainsaw Man therefore mobilizes far fewer views, and that is precisely what makes the figure interesting. It means the community is spread out, present everywhere in moderate quantity, rather than concentrated in a few large markets. No other video covered in these pages shows such a ratio between reach and volume. Japanese animation has built, over twenty years, an audience distributed almost uniformly across the planet, and this trailer gives the clearest measure of it our snapshots have produced.

Sony Pictures Entertainment

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Sony drops a Spider-Man trailer and YouTube stops spinning, routine stuff you might say. Except the Brand New Day numbers still stand out from the ordinary, 27 million views in seven days, 596,000 likes, and a simultaneous trending presence in 39 countries. Even for the web-slinger, that is a massive welcome. The teasing touches a nerve, it must be said. The trailer reveals a Peter Parker forgotten by the entire world, direct consequence of the No Way Home ending that has haunted fans for years. This erasure storyline, a hero who keeps saving people though nobody remembers his name, gives the character a tragic dimension the saga had never exploited this frontally. With Zendaya and Sadie Sink in the cast, the film shapes up as one of the events of the year. Reading the comments is a show in itself. Theories pile up by the thousands, every shot gets analyzed frame by frame, and breakdown videos are already blooming across hundreds of channels. It is the usual ecosystem of the big franchises, that parallel economy of content about content which multiplies the trailer's real impact far beyond its own counters. Our data confirms it month after month, major Hollywood trailers dominate global trending within hours of upload, with a regularity that says plenty about event cinema's place in YouTube culture. The studios have fully absorbed the lesson, a trailer release is now planned like a single. And when the spider is involved, the records fall on their own. This pair of figures, 27 million views and 39 countries, corresponds to a rare profile in our snapshots. Most videos covered here lean sharply one way, either volume, like IShowSpeed's video and its 66 million views, or coverage, like the Chainsaw Man trailer present in 64 countries for six million views only. Spider-Man holds both at once, which almost never happens. That is the signature of a franchise that has moved past fandom to become a cultural default, known even to people who follow no Marvel film at all. The character needs no explaining in any of the 39 countries concerned, and that is exactly what these two numbers, held simultaneously, demonstrate.

IShowSpeed

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66 million views, 3.3 million likes, and a spot in the world's top 8 music videos. Those numbers belong not to an established pop star but to IShowSpeed, streamer by trade, whose World Cup (Champions) marks one of the most revealing breakthroughs of the year on YouTube. The American-Ghanaian creator with 55 million subscribers made his name through live reactions, volcanic energy and world tours that regularly turn into viral phenomena. Seeing him step into music with a World Cup tribute surprised none of his fans, and the counters confirm his audience follows him everywhere, whatever the format. That is precisely the most interesting thing this success tells us. The borders between streamers, musicians and influencers are finishing their disappearance before our eyes. A creator now builds an audience on personality, then carries it from one field to another, from gaming to music, from vlogs to sport. Record labels spend years building what Speed gets with a snap of the fingers, a fanbase that clicks by reflex. The choice of football is no accident either. Speed built part of his legend on his overflowing passion for the sport and his idol Cristiano Ronaldo, to the point of becoming a familiar figure in stadiums and international competitions. This video closes the loop, the kid who screamed at matches on stream now sings for the biggest competition on earth. And 66 million people watched. Football and YouTube clearly speak the same language, the language of oversized passions. These 66 million views need placing to grasp their scale. It is by far the largest volume recorded among all the videos covered in these pages, ahead of BABYMONSTER's 53 million, the HYBE collaboration's 38 million and the Spider-Man trailer's 27 million. An independent creator therefore outranks, on this criterion alone, the releases from Sony Pictures, YG Entertainment and Universal recorded over the same period. No structure signed him, no launch budget pushed the video, and it enjoyed no release window coordinated across territories. The global ranking draws no distinction between a major label and a bedroom with a microphone, and that week, it was the second that beat everything else.

MrBeast Gaming

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The promise fits in one sentence, build something in Minecraft and he buys it in real life. That was all MrBeast Gaming needed to generate 27 million views in a matter of days and settle into the trending charts of 30 countries at once. You could almost teach this video as a case study of what works on YouTube in 2026, so methodically does it tick every box. The format blends the three ingredients that made Jimmy Donaldson the most watched man on the platform. Gaming first, with Minecraft as the universal playground every audience instantly recognizes. The challenge next, that competition structure giving stakes to every minute of watch time. And spectacular generosity last, the MrBeast signature where money flows freely to reward participants' creativity. What stands out in our data is the geography of the success. Thirty countries trending at the same time is a score even the biggest music videos do not systematically reach. MrBeast content travels effortlessly because it rests on universal springs, surprise, play, reward, and because the editing never gives the viewer ten seconds of rest. You can debate endlessly what this style of ultra-calibrated production says about YouTube's evolution. Meanwhile the machine keeps running, week after week, and every video from the MrBeast galaxy mechanically becomes a worldwide event in our ranking. At this level of consistency, it is no longer virality, it is industry. And the factory clearly has no plans to close. The most telling comparison sits in the rest of our snapshots. With 27.4 million views, this video edges just ahead of the Spider-Man: Brand New Day trailer and its 27 million, published a day apart. And its 30 countries match the coverage of BTS's NORMAL. In other words, a Minecraft video shot by an independent production team sits, on both axes our rankings measure, exactly level with a Sony blockbuster and a BTS comeback. That is no longer a flattering comparison, it is a plain statement of position. Where this article speaks of industry, the numbers confirm it without emphasis, MrBeast no longer occupies a separate category in the global ranking, he occupies the same one as the studios, at the same orders of magnitude.

HYBE LABELS

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Bringing three girl groups together in one music video, it took HYBE to dare it at this scale. ICONIC BY MISTAKE unites LE SSERAFIM, ILLIT and KATSEYE, three acts from three distinct labels under the Korean giant's roof, for a track designed from conception as a global event. The result came fast, 38 million views in eleven days and a trending presence across 13 countries. The move is commercially brilliant, credit where due. Each group brings its fandom, its codes and its territory. LE SSERAFIM carries serious weight in Korea and Japan, ILLIT embodies the rising new generation, and KATSEYE, a group built specifically for the American market, opens the doors of the West. Add the three audiences together and you get a mobilization machine no other label in the world currently possesses. Beyond the calculation, the video also works because the meeting itself feels unprecedented. Inter-group collaborations remain rare in K-pop, where each act jealously guards its visual and sonic identity. Watching these three universes answer each other on the same screen is a small event in its own right, and fans did not miss it, comment counters exploded within the first hour. A move like this confirms HYBE's singular position in the industry. The label no longer simply produces successful groups, it orchestrates pop culture moments on a planetary scale, crossing East Asian and Western audiences with watchmaker precision. You can find the machinery a little cold from a distance. Faced with the numbers, you mostly notice that it works remarkably well, and that the competition has yet to find an answer. One figure in this article deserves a pause though, and it qualifies the story. 38 million views place this video third by volume among those covered in these pages, behind IShowSpeed and BABYMONSTER. But its 13 countries constitute the narrowest coverage of every video followed here, far behind the 30 countries of BTS's video and the 59 of Stray Kids, both of which post lower volumes. Adding three fandoms together therefore produces considerable intensity across a restricted number of markets, rather than worldwide distribution. The strategy works perfectly in volume, it does not translate into ubiquity. Bringing three audiences together is not the same thing as reaching three territories, and the country-by-country ranking makes that point here without mercy.