Key Takeaways

• All 10 films in the Spider-Man universe are streaming on subscription (SVOD) or free services (AVOD) right now, in both the US and the UK.
• The US reached a complete Spider-Man catalog for the first time on December 1, 2025, and has held it for 242 consecutive days.
• The UK has assembled a complete set eight separate times, but the median run lasted 23 days.
• BBC iPlayer opened windows on all 10 films between July 14 and July 20, 2026.
• Twenty US services have carried at least one of these films. In the UK, the number is eight.
• Rent and buy availability never broke for a single Spider-Man film in either market.

Spider-Man: Brand New Day opens in US theaters on July 31. Forbes ranked all 11 films by Rotten Tomatoes score this week. I wanted a different ranking: where these films have actually been.

Reelgood’s historical availability data covers the 10 films that preceded Brand New Day, across the US and the UK, on subscription (SVOD) and free ad-supported services (AVOD). US window records for these titles begin September 2, 2019; UK records begin September 24, 2020. The complete Spider-Man catalog now sitting in front of audiences in both markets is not a coincidence of timing. 

It was assembled, and each market assembled it differently.

The US Built a Complete Spider-Man Catalog Once. The UK Has Done It Eight Times.

The US reached a complete ‘Spider’ set on December 1, 2025, and has not lost it since. That run now stands at 242 consecutive days, and it is the only one on record.

For most of the past six years the US was well short. 

On an average day, roughly six or seven of the 10 films were available on a subscription or free service. The catalog only closed when Disney+ picked up No Way Home in April 2026 and Netflix picked up Homecoming on July 1, filling the last two gaps.

The UK behaves differently. 

It has assembled a complete set eight separate times, and the median run lasted 23 days. Those runs cluster: three in December, three in summer, one at Easter, and the current one, which began on July 18.

Two markets, two patterns. 

The US built a complete catalog once and held it. The UK builds one repeatedly and lets it fall apart again within a month.

If you forecast viewership for library titles, the number of competing services carrying a title on a given day belongs in the model. Four US services are carrying pieces of this franchise right now. In January 2026, Homecoming alone was on five at once.

 

BBC iPlayer Added All 10 Spider-Man Films in Seven Days

Between July 14 and July 20, 2026, BBC iPlayer opened windows on every one of the 10 films. NOW added three more on July 18. Those two services account for every new UK window that opened in July, 13 in total.

A publicly funded broadcaster now carries the entire Spider-Man franchise, with no streaming subscription required, and it got there in a week. Empire covered the iPlayer drop as a consumer story. 

The compression is what stands out in the data: 10 windows across 10 titles inside seven days is not a catalog refresh, it is a scheduled event.

The demand it was staged against is substantial. 

The Hollywood Reporter reports that Sony projected a $195 million domestic opening from 4,300 North American theaters and roughly $465 million globally, with Brand New Day accounting for 49 percent of the weekend’s showtimes as of Wednesday. Library titles get positioned in front of that kind of attention deliberately.

By contrast, one new US window opened in July: Homecoming on Netflix. The US had finished assembling its set seven months earlier.

If you manage rights for a catalog, 10 windows opening across 10 titles in seven days is the kind of event worth detecting while it happens rather than finding it in a quarterly reconciliation.

 

20 US Services Have Carried Spider-Man Films. The UK Has 8.

Since September 2019, 20 distinct US services have carried at least one of these 10 films. The UK figure, over a record that begins a year later, is eight.

The difference is not only breadth, it is duration. 

46% of US windows ran 35 days or less, against 36 percent in the UK. Most of those short US windows belong to free and ad-supported services cycling titles in and out: Tubi, Pluto TV, Sony Crackle, Plex, The Roku Channel.

Spider-Man 3 alone has appeared on 15 US services across 28 separate windows.

Underneath the churn, each market has a spine, and both trace to a specific deal. 

In the US, Disney+ currently holds nine of the 10, with its earliest window unbroken since April 21, 2023. That follows the 2021 agreement in which Disney took post-Pay-1 US rights to Sony’s films, including the Spider-Man library. In the UK, NOW holds eight, with five films unbroken since December 3, 2022, consistent with Sky’s first pay window and library partnership with Sony Pictures Television.

Why Movie Franchise-Level Availability Averages Mislead

Two films in this franchise have almost nothing in common in their distribution histories. Spider-Man 3 has appeared on 15 US services. Into the Spider-Verse has appeared on two: Netflix and Pluto TV in the US.

They are eleven years apart and both are Sony titles, but they followed different contractual paths. 

The gap is a matter of vintage, not format. Across the Spider-Verse, the 2023 sequel, ran on Netflix and then moved to Disney+, where it still sits. Into the Spider-Verse was released in 2018, before the Disney arrangement existed, and never entered that pipeline. And Netflix’s new global Sony agreement names Spider-Man: Beyond the Spider-Verse among the upcoming titles.

The territory split makes the same point. Disney+ in the US has never carried Into the Spider-Verse, not once in seven years, while the nine other films arrived between April 2023 and April 2026. Disney+ in the UK did carry it, from September 2022 to January 2023. Same film, same studio, same corporate counterparty, opposite outcomes in two markets.

For a content acquisition team assessing how exposed a property already is, this is the practical problem. 

A franchise-level read on Spider-Man would describe Spider-Man 3 as heavily overexposed and Into the Spider-Verse as barely distributed, and it would be wrong about both, because the average of 15 and two describes neither film. Exposure has to be measured at the title level, and in each market separately, or it is measuring something that does not exist.

 

Rent and Buy Availability Never Lapsed for a Single Spider-Man Film

Every one of the 10 films has been continuously available to rent or buy in both the US and the UK from the moment it first appears in Reelgood’s data. Not one gap, across 10 titles and two markets.

All of the volatility sits in the subscription and free layer. The transactional layer has been flat the entire time. 

A title’s subscription availability can change a dozen times while the option to rent or buy it stays open throughout. The film never becomes unwatchable. It stops being included in something the viewer already pays for, which is a different problem and one that only shows up if you are tracking both layers.

You can see it directly on our historical title availability tool, which includes Spider-Man: Across the Spider-Verse among its interactive examples: the SVOD rows move, the TVOD row runs straight across. That tool covers all four service types in the US, while this analysis covers two, so the service counts differ by design.

For rights and compliance teams, this is why availability data has to be observed rather than assumed. 

A contract says a window should open on a date. Only the record shows whether it did, how long it stayed, and what else was carrying the title at the same time. 

Reconstructing that after the fact is the part most teams cannot do internally, which is why Reelgood maintains seven-plus years of timestamped windows across 300+ services in 25+ countries rather than a snapshot of today. 

As we covered in our analysis of why historical availability data is a strategic necessity, the questions that get asked after the fact are almost always about the past.

 

How Licensing, Rights, and Analytics Teams Use Availability Data

The same analysis runs against any catalog. What each team gets:

• Content licensing and acquisition: a title-level exposure history showing every service that has carried a title, and for how long, in every market you license into.
• Rights management: window-by-window records across services and markets to verify that what was contracted is what appeared.
• Competitive intelligence and analytics: complete availability coverage over time for any defined set of titles across 25+ countries.

Contact the Reelgood data team at data.reelgood.com or sales@reelgood.com for a sample export against titles you choose.

 

Data: Reelgood Movie & TV Metadata & Streaming Availability Database, July 2026. Scope: the 10 Spider-Man universe films released 2002 to 2023, US and GB markets, subscription and free ad-supported services. Rent and buy services are grouped as a single category. vMVPDs and premium add-on channels are excluded. US window records for these titles begin September 2, 2019; UK records begin September 24, 2020.