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.
As an entertainment executive, you want to have a better understanding of how to use demand data to make informed content decisions for your platform. One example of demand analysis can be seen in the case of "Zorro (1957)" in Italy in February 2024.
"Zorro (1957)" experienced good demand in Italy with 2.5 times the audience demand of the average show in Italy over the last 30 days. This is a good indicator of the show's value in the market. Additionally, the show experienced a recent increase in demand over the last 30 days, compared to the average demand over the last 90 days, showing that the show is gaining in popularity.
The show's global performance in six dimensions also provides a deeper understanding of the show's value. For instance, although "Zorro (1957)" had poor travelability (international demand relative to its home market), the show experienced outstanding longevity and okay momentum. In terms of franchisability, the spin-off potential of the show is poor, as is its reach.
Understanding the audience's preferences can also inform decisions around content acquisition and programming. For "Zorro (1957)" in Italy, fans of the show also indicated they liked "Buffy The Vampire Slayer," "The X-Files," and "Banshee." This data could inform acquisition decisions for similar shows or programs to attract a similar audience. Moreover, it may be worthwhile to examine the presence of similar shows on the streaming platform to prevent competing for the same audience.
Demand data can help to identify and close whitespaces in a particular market. The analysis of "Zorro (1957)" further demonstrates this, with the show's performance being higher than the average TV show in the top ten global markets. For instance, "Zorro (1957)" was in demand 2.5 times more than the average TV show in the United States and saw good demand in Italy. The show can be considered for distribution in other markets where it is doing well, such as Brazil, Argentina, France, and Mexico.
Demand data does not only inform acquisition and distribution strategies. It can also shape marketing campaigns, release strategies, and pricing. For "Zorro (1957)," demand spiked towards the end of February 2024 in Italy. This information on the peak in demand can be used to finetune marketing campaigns to reach the TV series' audience better. In terms of pricing and release strategies, demand data can help evaluate what works best globally and locally, thereby making strategic and informed decisions.
Lastly, from a content valuation standpoint, demand data can be used to identify the unique value of the content, and how it drives engagement across different catalogues. In the case of "Zorro (1957)," the significant demand in Italy provides a baseline value for the show, where executives might also consider how it might perform on other platforms with bases of Italian subscribers. By analyzing the audience's demand for the show in Italy, one can gauge the extent of its popularity and determine its value proposition.
In conclusion, demand data is a critical tool for entertainment executives to make informed content decisions for their platform. Based on the analysis of "Zorro (1957)," executives should focus on highlighting the show's strengths, such as demand data longevity and audience preferences, and further improving its presence in other markets with similar audience demand.
Zorro (1957)'s travelability to Italy in the last 30 days is 23%, which means that the audience demand for Zorro (1957) is 23% of the demand in its country of origin, United States. Click through to another market to discover how well Zorro (1957) travels internationally.
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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 Italy, 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 abc 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 Zorro (1957), for example, can be assessed for a market e.g. Italy, which can then be benchmarked against genre averages (e.g. Action Thriller), using our globally standardized Demand Expressions® metric.
This page has been enhanced on April 22, 2024, 2 p.m. PST using demand analytics from Parrot Analytics for Zorro (1957) in Italy. We provide our partners with far-reaching TV industry insight to help them drive better and more informed content investment strategies. Contact us today to find out more.