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.
Content executives across the entertainment industry can use demand data to make more informed decisions regarding content acquisition, distribution, programming, and evaluation. In this article, we will use the example of "Broken," a six-part drama series starring Sean Bean, to illustrate how insights from demand data can inform strategic decisions.
Firstly, using the demand data, we can calculate the value of "Broken" within the Canadian market. At 2.2 times the average demand of all TV shows over the past 30 days, only 8.6% of shows have this level of demand. This indicates that "Broken" has significant value and is a strategic asset for any platform looking to acquire it.
Secondly, we can use the insights from the demand data to evaluate the show's potential in international markets. For instance, "Broken" has higher demand than 94.0% of all history titles in Canada in February. Yet, the demand for "Broken" in Canada decreased by 55.7% during February, which can indicate that the show may not be able to retain audiences in Canada over time.
However, it is essential to note that the demand for the series spiked in mid-February, indicating that this show has a strong audience appeal. Furthermore, based on the Parrot Pulse, we can see that "Broken" performed well in terms of audience demand across six dimensions, including worldwide audience demand, travelability, longevity, momentum, franchisability, and reach.
Additionally, demand data provides a useful basis for content decision-making. For example, we can use this data to inform decisions on the release strategy of "Broken," to evaluate its potential to drive subscriptions and mitigate audience churn, and to help determine whether audience demand for a show is growing for exploitation by other platforms.
Other valuable insights can be gleaned from the comparison of the performance of "Broken" over the past year versus the last 30 days. While "Broken" has always been in high demand, it increased by 37.2% over the last 30 days. Furthermore, based on which other TV shows "Broken" fans like, we can identify the tastes and preferences of the show's audience, which could be useful when making decisions about future programming.
Finally, we can use the show's global demand data to inform decisions around entering new markets, as we can see which areas have the highest demand for the series. For example, The United Kingdom is "Broken"'s number one market globally, and the show achieved remarkable audience demand of 5.8 times the average, followed by the United States, where demand for the show is good and it outperforms the average TV show in other significant markets - India, Belgium, Switzerland, New Zealand, Canada, Pakistan, and Sweden.
In conclusion, demand data can provide key insights into audience behavior, enabling content executives to make more informed decisions about content acquisition, distribution, programming, and evaluation. For shows like "Broken," demand data can be used to value content, assess franchise potential, evaluate global performance, optimize release strategy, and inform pre-release marketing. By leveraging audience data in this way, entertainment companies will be better equipped for success.
Broken's travelability to Canada in the last 30 days is 13%, which means that the audience demand for Broken is 13% of the demand in its country of origin, United Kingdom. Click through to another market to discover how well Broken travels internationally.
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Our TV audience measurement dataset is truly global. Discover how popular BBC One‘s Broken 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 Canada, 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 BBC One 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 Broken, for example, can be assessed for a market e.g. Canada, which can then be benchmarked against genre averages (e.g. Historical Drama), using our globally standardized Demand Expressions® metric.
This page has been changed on March 28, 2024, 3:42 a.m. PST using global demand metrics from Parrot Analytics for Broken in Canada. We provide our partners with essential TV series expertise to help them drive better and more informed content licensing strategies. Contact us today to find out more.