Over the last two decades, the audio-visual industry experienced a disruptive change in the consumption, distribution and production of content. The arrival of streaming technology, that distributes content through internet, without the need of a file download, created the flexibily of content consuption. Clients now can watch their movies and series without the limitation imposed by the very characteristic schedule of Pay TV and Open TV, or the fixed movies sessions of cinema theaters. This thecnology generated a wave of addoption by audio-visual Industry companies, first by Netflix, the pioneer on this choice, followed by incumbent companies from other audio-visual markets, such as Free TV and Pay TV. Facing this recent industry moviment, capable of distroing other sectors, such as the Home Video, this study becomes relevant. The present work has as an objetive to analyse and classify 37 streaming platforms, in a quantitative manner, using Porter s (1980) typology as a theorical framework, and to identify which strategic group shows the best strategic performance, globally. For doing so, literature concepts on strategic groups, strategic typologies, performance analysis and competitive strategy were reviewed. The data that makes the present work possible were colected from the companies financial results, market research websites, speciallized periodics and from their own websites. Once with the organized data base, statistics tests were used such as z score, Kolmogorov-Smirnov, Shapiro-Wilk, k-means cluster, Wilcoxon, MANOVA, ANOVA, between others. As a result, 14 percent of the studied platforms were alocated in Differentiation strategic group, 30 percent on Cost Leadership, 19 percent on Focus Differentiation, 8 percent on Focus Low Cost and 30 percent on Stuck In The Middle.