Trailers Have Lost Three Places in the Global Top Ten in Two Weeks

The 9 August 2026 snapshot covers 3,520 videos collected across 72 countries. Ranked by the number of countries where they appear on the same day, the ten most widespread videos include six trailers, two music videos and two creator uploads. On 26 July the same ranking held nine trailers out of ten. Two weeks is a short window, but the shift is large enough to be worth reading closely, because the videos that took those places did not arrive through the same door.

01

59 Countries, and No Marketing Calendar

Stray Kids "This & That" M/V

JYP Entertainment

Published on 7 August, the video appears in 59 of our 72 countries with an average rank of 11.5, which is the widest coverage recorded in this snapshot. It is worth comparing that figure with its 21,108,617 views: Stray Kids are not the most watched entry of the week, but they are the most evenly distributed one. A music video reaches that state without a release-day marketing push in each territory, because the format survives translation. Nobody needs subtitles to decide whether they like a chorus.

02

Second Worldwide With 1.6 Million Views

Garten of Banban: Last Ticket to the Abyss - Official Teaser Trailer (Delvers)

Euphoric Brothers

This teaser is present in 51 countries with only 1,603,626 views, the lowest count in the top five by a wide margin. That combination is the clearest sign that reach and audience are two separate measurements. Euphoric Brothers is a small independent studio whose audience is made of children and teenagers who follow the series across borders. There is no localisation and no premiere event, only a franchise that has been running long enough for its audience to check the channel on the same day.

03

A Livestream Replay in 41 Countries

MINECRAFT HARDCORE ALL BOSSES DAY 1 ft. KaiCenat

IShowSpeed

A livestream replay in 41 countries with 11,394,319 views is the entry that would have been impossible to predict from the July data. Nothing about the video is designed to travel: it runs for hours, it is in English, and its subject is a game session. What travels is the pairing of two creators whose audiences already overlap in dozens of markets. This is reach built by accumulation rather than by launch, and it is the only item in the top five that no distributor scheduled.

04

The Classic Model, Still Working

Primetime | Official Trailer HD | A24

A24

Released on 6 August, the Primetime trailer collects 8,762,715 views and 39 countries in under three days. That is the standard curve for a well-supported film trailer, and it remains extremely efficient. A24 is not a major studio in volume terms, yet the format does the work: two minutes, a single global publication time, and a thumbnail that carries a recognisable face. The reason trailers dominated the July ranking is visible here in isolation, without the noise of a festival week.

05

1.28 Million Views, 34 Countries

D.Mon | New Hero Gameplay Trailer | Overwatch

PlayOverwatch

The new Overwatch hero reveal closes the top five with 1,284,628 views spread over 34 countries. Like the Garten of Banban teaser, it is a low-volume, high-coverage entry, and for the same underlying reason: a live-service game has a permanent audience distributed across every market that has servers. The publisher does not need to buy attention on the day, it only needs to announce. Games behave in this ranking the way subscriptions behave in a chart, quietly and everywhere at once.

The pattern behind these five entries is simpler than it looks. A trailer buys geography: it is released everywhere at the same hour, translated, and pushed by a budget, which is why Primetime and D.Mon reach 39 and 34 countries within two days. A music video buys attention: Stray Kids need no translation and no explanation, and their 21.1 million views arrive faster than any trailer in the list. A livestream replay buys neither and still lands in 41 countries, which is the genuinely new fact here. What changed in two weeks is not the strength of marketing but the calendar. Late July concentrated Comic-Con and console announcements in a few days, and trailers filled the chart mechanically. Early August has no such event, so the space went back to formats that travel on their own: Korean pop, an indie horror game and two creators. The ranking always rewards whoever is publishing that week. When nothing is being launched, the audience decides alone, and it picks differently.

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