The Demand Distribution curve illustrates how a TV show’s popularity compares to the demand benchmark, which is a measure of the average demand across all titles. The curve is divided into performance buckets, ranging from “Below Average” to “Exceptional”. A show falls into one of these performance buckets depending on how many times more or less demand it has compared to the demand benchmark.
The show’s performance is market-specific, e.g. the same show can be in the “Average” range in the United States and in the “Good” range in France.
As an example, if a show has 9 times more demand than the demand benchmark, it falls in the “Outstanding” performance range; only 2.7% of all shows in the market reach this high level of demand.
If you are an entertainment executive, you can use demand data to make better content, acquisition, distribution, and programming decisions. Let's use "Stuck In The Middle" as an example of how demand data can be analyzed to reveal valuable insights that can inform strategic decision-making.
First, content valuation uses demand data to determine the worth of a series like "Stuck In The Middle." In Australia, this show has 3.5 times the audience demand of the average show, which means that its demand is good compared to other titles in the same market. Moreover, its demand has been increasing recently, which showcases its growing popularity in the country. By using demand data, you can estimate the value of a specific title globally and get an economic valuation to reveal how much it can contribute to any region-specific platform.
Another area where demand data is valuable is content acquisition. When acquiring fitting content, it's important to consider what genres are resonating with your current audience and which content can drive more subscribers to the service. By examining the top 10 global markets, where "Stuck In The Middle" is most in-demand over the last 30 days, you can find out which regions are more interested in the show. In this case, The United States has the highest demand, followed by the United Kingdom, South Africa, Jamaica, Australia, New Zealand, Ireland, Canada, and Nigeria. Armed with this information, you can make informed decisions on which geographic regions the show should be distributed to, to hit the audiences, where it is feasible.
Additionally, demand data can help with programming decisions. For example, in January, audience demand for the show has increased in Australia by 218.0%, making it necessary to know from which specific platform the requests were coming. By utilizing demand data, you can determine the ROI a particular title brings to any given platform and assess a TV series' ability to drive subscriptions as well as reduce churn on the platform.
Another essential programming decision is discovering under-monetized titles. Even though "Stuck In The Middle" is not a new series, it's still attracting an increasing audience. Investors can spot under-monetized titles by using Demand Expressions trending over time to find out the most popular titles across the globe, including under-the-radar gems, which are rapid-risers with the potential for a long tail and slow burn. In this case, by examining "Stuck In The Middle" performance on a 1-year rolling basis versus the last 30 days, the show's average demand on a rolling year basis was 0.9 times the average title compared to 3.5 times the title average in the last 30 days. This suggests that the show is gaining popularity over time, despite no new episodes airing since 2018.
In conclusion, by using demand data, viewership analytics, and insights about the market and audience behavior, entertainment executives can make more informed decisions about what content to acquire, invest in, and produce. The insights derived from demand data analysis can help in programming decision-making, content valuation, content acquisition and under-monetized titles, to make stronger and more informed strategic decisions.
Stuck In The Middle's travelability to Australia in the last 30 days is 6%, which means that the audience demand for Stuck In The Middle is 6% of the demand in its country of origin, United States. Click through to another market to discover how well Stuck In The Middle travels internationally.
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Our TV audience measurement dataset is truly global. Discover how popular Disney Channel‘s Stuck In The Middle is in any of the following selected markets. Need data for other markets? Find out more about DEMAND360LITE.
Parrot Analytics is the leading global content demand analytics company for the multi-platform business of television. With the world’s largest TV audience demand dataset, the company currently tracks more than 1.5B daily expressions of demand in 100 languages, not only in Australia, but also in 100+ other markets around the world to reveal the television content that consumers watch (viewership) and give their attention to the most.
Parrot Analytics' television demand data highlights the global TV content monetization opportunities for Disney Channel and thousands of TV studios, linear networks, broadcasters, pay TV providers and OTT / SVOD platforms.
Unlike TV ratings, our DemandRank TV rating system ensures that important demand signals are weighted more heavily than others: The more consumer effort required; the more importance is attached to each signal. Once all the signals are weighted and combined, the audience demand for Stuck In The Middle, for example, can be assessed for a market e.g. Australia, which can then be benchmarked against genre averages (e.g. Teen Sitcom), using our globally standardized Demand Expressions® metric.
This page has been altered on April 18, 2024, 2:05 p.m. PST using global demand datasets from Parrot Analytics for Stuck In The Middle in Australia. We provide our partners with far-reaching TV industry expertise to help them drive better and more informed content sales strategies. Contact us today to find out more.