Company Dossier
PlumResearch
PlumResearch provides streaming audience measurement and analytics for media companies trying to understand what people are watching across major subscription and ad-supported services. Its Showlabs platform turns panel-based viewing data into rankings, completion metrics and business intelligence for studios, broadcasters, streamers and other teams negotiating in a market where platform data is still annoyingly selective. In May 2026, PlumResearch was acquired by Ampere Analysis.
Core Offering
PlumResearch sells access to streaming audience intelligence through Showlabs, a cloud analytics platform that tracks title-level performance across major SVOD, AVOD and FAST services using large-scale audience panels. The practical output is not production software, but decision data: unique viewers, hours watched, completion rates, binge behaviour, share of viewing and related metrics that help media companies assess content value and audience behaviour outside the platforms' own dashboards.
Company Notes
What they do
PlumResearch is a streaming audience analytics company. Its main product, Showlabs, is a cloud dashboard for measuring how films, series and channels perform across major streaming services, including Netflix, Disney+, Max, Prime Video, Apple TV+, Hulu, Peacock, Pluto TV, Tubi, Roku and Crunchyroll.
The company gathers viewing signals through large-scale audience panels and turns that into title-level and platform-level reporting. The public pitch is built around metrics such as unique viewers, total hours watched, average time spent, share of viewing, views, completion rate, binge watching and reactivation data. In plain English, it tries to answer the question that streaming platforms often answer only when it suits them: did people actually watch the thing, finish it and come back for more?
PlumResearch is based in Warsaw and was founded in 2015. In May 2026 it was acquired by Ampere Analysis, adding Plum’s audience measurement data to Ampere’s broader media, games and sports research business. That makes the company less of a standalone Polish measurement startup and more part of a larger media-intelligence stack.
Why media teams might care
Streaming has made audience data both more abundant and less visible. Platforms know exactly what is being watched, but rights holders, studios, producers and broadcasters often see only partial information: public top-ten lists, selective viewing-hour announcements, or negotiated reporting that may not answer the commercial question they actually have.
PlumResearch sits in that gap. A studio can use this kind of data to understand whether a licensed show is quietly doing heavy work on a streamer. A broadcaster can track how its titles behave when they move into SVOD, AVOD or FAST environments. A strategy team can compare audience behaviour across markets rather than relying on one platform’s public victory lap.
Completion rate is one of the more useful examples. A show that attracts a large sampling audience but loses people quickly is very different from a show that fewer people start but many finish. That difference matters for renewals, licensing, valuation, localization spend and, occasionally, for explaining to a room full of executives why the obvious answer is not actually the answer.
This is also relevant to the rise of FAST and ad-supported streaming. As more viewing moves into free or lower-cost services, media companies need a better read on which channels, genres and catalog titles are driving repeat attention. PlumResearch is not an ad server, a scheduling system or a production tool, but its data can influence decisions that eventually land in those workflows.
Where they fit
PlumResearch fits in the business intelligence layer of the media supply chain. It is most relevant after content has been released or licensed, but the information can feed back into development, acquisition, distribution, rights negotiation and localization planning.
The most likely users are research teams, corporate strategy groups, distribution executives, content acquisition teams, rights holders, broadcasters, studios, streamers and agencies advising talent or clients. Post-production and production teams probably will not use Showlabs directly day to day, but the decisions informed by this data can affect what gets commissioned, renewed, localized, repackaged or licensed into new windows.
Its closest neighbors are other audience measurement and streaming intelligence companies, including legacy measurement firms and newer data providers using different methodologies. PlumResearch’s pitch is specifically about independent, granular streaming behaviour, rather than traditional overnight ratings or subscriber transaction data.
Watch-outs
Panel-based measurement is useful, but it is still measurement by model. It is not the same thing as having direct server-side data from Netflix, Amazon, Disney or any other platform. The quality of the output depends on panel scale, representativeness, weighting, device coverage and methodology, and public marketing pages do not fully explain every part of that machinery.
The company promotes large figures for panelists, devices and markets, but those numbers should not be read as a simple census of all streaming behaviour. Teams using the data for serious commercial decisions should ask how active the panels are, how connected-TV viewing is handled, how markets are weighted and what confidence levels apply to smaller titles or narrower territories.
The Ampere acquisition is also recent. The strategic logic is clear: combine PlumResearch’s audience measurement with Ampere’s existing research and title-level data. The practical integration may take time, and buyers should check whether they are licensing Showlabs as a distinct product, an Ampere-integrated dataset, or both.
The sensible way to view PlumResearch is as a useful independent counterweight to platform-controlled data, not as a magic truth machine. In streaming measurement, anyone selling absolute certainty is probably selling you a dashboard with excellent fonts.