Category: Uncategorized

Who’s been streaming this rich docudrama? 
We’re seeing an audience composed mostly of men (61%) and those 30+ (80%), a viewership profile similar to many other male-heavy dramas–both fictional and non–about American history (Turn: Washington’s Spies, The Good Lord Bird, Deadwood, Gaslit). In contrast, US historical series with more prominent female characters (The First Lady, The Gilded Age) tend to lean more toward women, while war epics (Band of Brothers, The Pacific, Masters of the Air) are even more prominently favored by men.

How important is the historical aspect of the story? 
Not as important as expected. Similar shows ripped from the annals of history tend to have key ratings drivers explicitly related to their real-world connection: Based on Historical Events (142, Band of Brothers); Based on a True Story (131; The First Lady), American History (117, Boardwalk Empire). Instead, Death by Lightning’s main pull is its in-world tension, from the political Power Struggles (145) as Garfield clinches the presidency, to the myriad challenges to his Leadership (127), to the Murder Violence (132)-driven Tragic Event (136) at the series’ core. Audiences are tuning in to see the swirling political and psychological drama that unfolds, and to watch both Garfield and his unhinged assassin pursue Power (136) and Social Status (136).

What type of viewing experience are audiences lining up for? 
A rough Emotional Roller Coaster (125). The show follows the ups and downs of both President Garfield as he pursues idealistic aims–civil rights, anti-corruption, education–and his soon-to-be murderer Charles J. Guiteau as he fails in his attempts to join Garfield’s inner circle. A frustrated office-seeker believing himself entitled to power, Guiteau’s mental state deteriorates as he’s denied access to the president, flashing through a host of wildly-swinging emotions: Terror (136), Contempt (136), Remorse (133), Rage (131), Loathing (127), Admiration (124), and even Optimism (124). Viewers are leaning in to witness the chaotic and ultimately combustible emotional link between the two.

Does Death by Lightning also offer international appeal? 
Absolutely, though the key drivers are a bit different. As in America, Garfield’s impending assassination (Tragic Event) is a crucial ratings propeller for global audiences, particularly pulling in the UK (133), South Korea (148), and Japan (135). However, Garfield’s Political Life–his policies, his career, and the broader trends of the era–carries notably more weight abroad than it does in the US, perhaps because viewers are more curious about a government that’s not their own. Australia (133), Brazil (121), Canada (127), New Zealand (157), and Mexico (139) are especially interested in the latter driver.

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Who’s tuning in for this twisted new thriller? 
We’re seeing an audience that leans toward men (56%) and is heavily aged 35+ (77%), placing the show squarely in the Apple TV sweet spot for the genre. The streamer boasts a number of similarly high-concept, dark-edged, sci-fi-tinged shows–including Severance, Hello Tomorrow!, Dark Matter, Silo, Invasion, and Foundation–and these series attract a very similar viewership profile.

What is Pluribus’ biggest selling point? 
Its tone. The show’s top three viewership drivers highlight its dark, irreverent sense of Twisted Humor (135), the sharp barbs it aims at modern social trends (conformity, toxic positivity, the lure of A.I.) (Social Satire, 131), and the deep reservoir of deep Cynicism (128) embodied by its prickly protagonist Carol. This wry, subversive tone hooks viewers and drives engagement, setting up an effective contrast with the overwhelmingly upbeat goodwill emanating from the rest of Carol’s world.

Why else are viewers tuning in? 
To follow Carol’s emotional journey. As the lone unhappy, misanthropic Fish Out of Water (123) within a vast sea of positivity, she sets off on a Road Trip Adventure (124) to gauge the extent of the bliss-causing pandemic and look for ways to reverse its effects. With her emotional outbursts seemingly the last weapon against the world’s unceasingly joyful hive mind, audiences are leaning in for her deep Emotional Turmoil (121), which swings wildly between feelings like Annoyance (126), Amazement (123), Optimism (122), Contempt (122), Anger (114), and Remorse (114).

What will be important as the show goes into Season 2? 
The wider world. With Season 1 introducing a World Turned Upside Down (125) and an unchecked Outbreak (126) of collective bliss, the show leaves plenty of room for future seasons to ramp up the story engine and explore the broader implications. The central tension ahead: Is Carol resisting forced happiness or proving misery loves company? Audiences are poised to return to see how the show grapples with this and other questions

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What does I Love LA have in common with other shows in this genre? 
Its examination of young adulthood. Like its predecessors, I Love LA explores what it’s like to be a self assured-yet-bewildered 20-something struggling to gain purchase in a challenging city, and it focuses on similar coming-of-age storylines around Friendship Conflicts (125), Overcoming Adversity (110), and Bettering Oneself (123). Protagonist Maia and her crew are reminiscent of the lead characters in shows like Insecure, The Bold Type, Adults, and Girls–the Millennial standardbearer for this subgenre–where their Friendships (111), breakdowns (Emotions Running High, 113), and working life struggles create a series of relatable (if heightened) scenarios for viewers of all ages.

What’s making I Love LA stand out? 
Its sharp, offbeat sense of humor. Where I Love LA sets itself apart is its tone, which is much more broadly comedic than most other entrants in this subgenre. The show also dives directly into a very modern phenomenon–the world of social media influencers–as it follows Maia’s attempts to become a talent manager for a wildly impulsive childhood friend who found online success. The Awkward Misadventures (160) and Awkward & Funny Moments (140) of Maia and her friends, along with the show’s wonderful sense of Cultural Diversity (132), place it more on par with the recent Gen Z-based Adults than earlier generations’ iterations of this storyline, which often depended instead on tension, drama, and rocky relationships. The comedic elements that make the show feel so unique are also its top viewership drivers and propel all four of its key components: ratings, bingeability, longevity, and social buzz.

Could such a US-specific show find success internationally? 
Definitely. Though humor is largely cultural, the hilarious Awkward Misadventures at the center of I Love LA do carry global possibility, with the driver showing an “outstanding” level of potential in markets as varied as the UK (160), Brazil (143), and South Korea (159). Though the show is inextricably tied to Los Angeles in name and setting, viewers everywhere can still identify with its universal themes of coming-of-age goofiness and social media-based madness.

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Who’s been adding this new dramedy to their queue? 
We’re seeing an audience that is gender balanced (52% men), and is mostly aged 35+ (74%). This profile is more male and older than other teen coming-of-age stories that wrestle with identity and transformation (e.g., Love Victor, Sex Education, Atypical, Heartstopper, 13 Reasons Why, It’s a Sin, Euphoria), which tend to skew much more toward women (59-77%) and often to those under 35.

Why have so many viewers been tuning in? 
For the best friend bond at its center. Boots focuses on sensitive teen Cameron (Fish Out of Water, 138) and his military-minded best friend Ray, who jointly decide to enlist in the Marines after high school graduation. Shipped off to the grueling world of boot camp, the pair join the newest batch of motley recruits and quickly learn that it’s sink or swim among the uber-disciplined world of basic training and its physical and mental gauntlets. Using humor to survive the harshness (Buddy Comedy, 145), the pair overcome challenges both to their friendship and their senses of self as their seemingly brutal experiences mold them into the men they will ultimately become (Coming of Age, 160). Audiences are watching for the show’s thoughtful, nuanced portrayal of Male Friendship (130) and how it morphs as boys grow up.

What’s making this series so bingeworthy? 
Cameron’s unique POV. Cameron is gay, and Boots takes place three years before the military’s “Don’t Ask, Don’t Tell” policy, when being outed within your unit meant immediate discharge and abject disgrace. Though he knew the risks, he still enlisted hoping the Marines would offer a new direction for his life, but as he survives each new day of boot camp, he realizes just how hard it is to conceal such an essential piece of his identity from the men that surround him every second of every day. Cameron’s role as an LGBTQIA+ Protagonist (142) deepens and enriches his story and makes audiences lean forward to see how things will ultimately turn out for this conflicted young man.

What will help push Boots to a second season? 
The setting. The show’s 1990s (128) time period and military milieu–both on and off the battlefield (Military Operation,122)–offer a rich vein to be mined for future seasons’ storytelling and could easily incorporate new storylines for Cameron, Ray, and the rest of their unit. Additionally, unlike with Boots, military-related themes tend to be paired with action-forward drivers like Battle Action, Criminal Investigation, and Espionage; the fact that Boots’ Marine component is instead paired with a touching coming-of-age story will continue to make this show stand out as unique.

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Who’s watching this hilarious new series? 
For HBO’s linear cable broadcast, we’re seeing an audience that leans toward men (57%) and is mostly aged 35+ (91%); for the streaming version on HBOMax, the viewership runs a bit younger (67% aged 30+) and more male (64%). This viewership profile is similar to Tim Robinson’s previous show, the absurdist sketch comedy I Think You Should Leave, as well as fellow satire-thriller Barry and wry send-up Nathan for You.

What type of story is The Chair Company telling? 
An unusual blend of Comedy (114) and Crime (114). Perhaps best described as an offbeat, surrealist, dark comedy-thriller, The Chair Company mines the absurdities of workplace culture and elaborate conspiracy theories for laughs while also injecting suspicious coincidences and surprise threats to generate momentum. Comedian Robinson plays an aggrieved project manager named Ron, whose Anger Issues (128) spiral out of control after his shoddily-made chair collapses onstage during an office-wide presentation and everyone laughs. As Ron embarks on a ludicrous quest to restore his reputation (Road to Redemption, 125)–he plans to demand an apology from the impossible-to-find chair manufacturer–he’s led into a labyrinth of dead ends and red herrings and receives scary “leave it alone” threats from parties unknown. This heavy lean into Cringe Comedy (125), Satirical Humor (132), and tempered suspense is driving the show’s bingeability and making it can’t-look-away for rapt viewers.

What’s getting viewers to check out the show? 
Ron’s office. Audiences are tuning in for the series’ over-the-top yet familiar Workplace Dynamics (121) that effectively send up the ridiculousness inherent in office life. Ron’s uncomfortable relationships with quirky, boundary-pushing co-workers, made increasingly more bizarre by his growing chair obsession, feed directly into the show’s cringe humor and give its satire a strong tinge of relatability. This Focus on Business (120) is what’s driving The Chair Company’s ratings.

What will help propel this series into a second season? 
Ron’s Family Relationships (127). While his workplace is the show’s immediate draw, his home life will provide the fuel for its future story engine, and viewers will return to see how his wife, adult daughter, and teenage son are faring after Ron goes increasingly off the rails. The Family Tension (126) and Psychological Turmoil (125) stemming from Ron’s first-season descent into chair-based conspiracies will ultimately drive the show’s longevity, offering plenty of continuing comedy and drama to accompany any future misadventures.

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Is the same 9-1-1 audience tuning in for this Music City spin-off? 
Definitely. We’re seeing a viewership that’s mostly women (60%) and heavily aged 35+ (94%), a near exact match for both 9-1-1 as well as its first spin-off, the Texas-set 9-1-1: Lone Star. This profile also reflects the general audience skew for the broadcast networks and lines up neatly with their other firefighter series (Fire Country, Station 19, Chicago Fire) and cop shows (NCIS, FBI, Chicago P.D., Law & Order). Additionally, the franchise connection (IP Extension, 140) is a key viewership driver for Nashville, so it’s a safe bet that fans of the original 9-1-1 make up the bulk of those tuning in.

What is 9-1-1: Nashville pulling from the successful franchise formula?
Its high-stakes rescues. Like its predecessors, this series focuses on a unit of firefighters and paramedics (Medical Professionals, 123)–in this case, the 113–who rush in when things get dangerous (Difficult Workplace, 118), and every episode highlights a series of action-packed emergencies and large-scale set pieces where the team of heroes work together (Teamwork, 112) to Save Lives (127). It also leans on the Power of Nature (115) as a compelling threat, though where the Los Angeles-set 9-1-1 leverages earthquakes and tsunamis, Nashville takes advantage of its southeast climate to bring on a different flavor of disaster (the pilot episode features a huge tornado). These repeating aspects of the franchise are driving this new series’ ratings and longevity.

What’s making 9-1-1: Nashville stand out as unique? 
Family Conflict (157). At the center of this new series is fire captain Don, his son Ryan by wife Blythe–and his surprise other son Blue by ex-girlfriend Dixie, revealed unexpectedly in the pilot. This revelation leads to considerable Family Tension (120) and many Strained Relationships (147) as Blue becomes a trainee on Don’s squad and the entire 113 crew must adjust to the new reality. Nashville is notably soapier and more deliciously melodramatic than the original 9-1-1, offering up dynastic squabbles, the juxtaposition of Wealthy vs Poor (111), and characters with juicy villainous potential. All of this character drama is what’s making the show so compulsively watchable and propelling its bingeability.

Could this show appeal to markets outside the US? 
Absolutely. Though 9-1-1: Nashville is heavily tied to the culture and style of its very American Music City setting, several of its key viewership drivers also carry strong potential internationally, especially in other English-speaking countries. The character drama, Family Tension (UK 123; AU 113; NZ 116), and Family Conflict (US 123; AU 113; NZ 124) land well in places like the UK, Australia, and New Zealand and suggest a possible avenue for Nashville to expand its audience.

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Is Chad Powers attracting the typical sports comedy audience? 
No. We’re seeing a viewership that’s decidedly more male (71%) and younger (55% aged 30+) than that of other recent sports-related redemption-story comedies, possibly because of its football focus and more exaggerated sense of humor. Shows like Ted Lasso, Running Point, and Stick have been somewhat more gender-balanced (51-64% men) with a stronger appeal to those 30+ (64-71%).

What about the show is pulling in viewers? 
Its comeback story. As the show opens, hotshot college quarterback Russ Holliday is on the verge of going pro when he makes an unforgivable error and throws a violent fit, costing his team the championship and himself his reputation. Eight wasted years later, he’s finally ready for redemption (Road to Redemption, 131) and is determined to resurrect his career by any means necessary (On a Mission, 112)–including fraud. Audiences are tuning in specifically to see Russ’s long journey of self-discovery, both as he recaptures his former football glory and as he slowly matures from an arrogant hothead into a humbled team player (Bettering Oneself, 111; Emotions Running High, 122), and they’re embracing the positive emotional experience that comes with watching him succeed (Awe, 126; Joy, 122; Amazement, 122). In this, Chad Powers aligns with the likes of Ted Lasso, Stick, and Running Point, all of which also looked to their built-in redemption stories as key ratings drivers.

What’s making this series so watchable? 
The Scam (143). To put himself back in play, the west-coast-born Russ dons facial prosthetics, adopts the fake persona of West Virginia native Chad Powers, and attends walk-on try-outs for the South Georgia Catfish, the floundering football team of a small private college. The absurdity of his scheme–inspired by the film Mrs. Doubtfire–provides plenty of fodder for the show’s Over-the-Top Humor (131), sets up a compelling Inner Conflict (144), and injects a delicious sense of tension and dramatic irony. Viewers will want to binge the whole season to find out whether Russ ultimately gets away with his ruse.

What will help propel Chad Powers into a second season? 
Football. Just like Ted Lasso, Running Point, and Stick before it, Chad Powers’ Sports Focus (135) is the core driving element of its longevity, with its gridiron, championships, and various players offering up a rich backdrop for a wealth of future storylines. In particular, there will be plenty to mine from the complicated Coach-Athlete Relationship (134) between Russ (aka Chad) and his athletic directors as well as the South Georgia Catfish’s push for success now that they have a new star quarterback (Winning, 133). Viewers will want to return for future seasons to see how far the team can go.

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Is the same NCIS audience tuning in for this spin-off? 
Yes. We’re seeing a viewership that leans toward women (56%) and is mostly aged 35+ (90%)–a nearly spot-on match for the other NCIS-branded series, even though they aired on broadcast and Tony & Ziva is native to streaming. This new show is also helping to attract more women to Paramount+, as many of the platform’s other recent releases (MobLand, Landman, Mayor of Kingstown, Tulsa King, 1923) have appealed much more strongly to men.

How important is the franchise connection? 
Extremely. Tony & Ziva’s link to the original NCIS is its #1 viewership driver and overall ratings propeller (IP Extension, 150)–a fact it actually shares with its predecessor, itself a spin-off of 90s drama JAG (NCIS: IP Extension, 160). Similarly, the fact that the new show brings back two long-departed fan-favorite NCIS characters–they’re together again onscreen for the first time in twelve years (Reunion, 122)–is stoking fan fervor, with their electric On Again, Off Again Relationship (125) taking center stage in a way it never could on the main series. The pair’s continuing love story is contributing to Tony & Ziva’s bingeability, longevity, and social buzz.

Does Tony & Ziva rely on the same elements that have made NCIS so successful?
No. The D.C.-set NCIS as well as its prior spin-offs (Los Angeles, New Orleans, Hawaii, Sydney, and Origins) are case-of-the-week Police Procedurals (160), each following a series of episode-long Criminal Investigations (130) driven by a US Federal Agency (122) and peppered by the Workplace Dynamics (116) of its staff. While this formula has proven to be episodic gold, propelling the original series through twenty-three seasons and counting, the new Tony & Ziva is branching out into less familiar territory, leaning heavily into serialized storytelling and landing closer to an international spy thriller.

What’s making Tony & Ziva stand out as unique? 
Character drama and sustained suspense. While the original NCIS hinted at Tony and Ziva’s personal lives and peppered in a few reveals, their new namesake show delves much deeper into their complicated Family Life (145) as Protective Parents (146) to a 12-year-old daughter and clashing exes who still feel a spark. The series amps up the tension–both personal and professional–by sending them on the run together across Europe with their Lives in Danger (127) as mysterious foes both set them up and try to take them down (Being Hunted, 135). The thrill of watching them Search for the Truth (130) in a Race Against Time (130) to clear their names and save their child is helping to drive ratings and bingeability, while their unusual family dynamic offers great promise for future seasons.

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Who’s been adding this dark thriller to their queue? 
We’re seeing an audience that skews toward men (54%) and those 35+ (78%), but not too different from the gender-balanced viewership of Ozark (50% men / 50% women), also starring Jason Bateman. Other Netflix-based action-laced crime dramas like Narcos and Peaky Blinders tended to bring in even more men.

What’s the show’s main pull? 
The brothers. The show follows ambitious, slimy restaurateur Jake and his seedy gambling-addict brother Vince, and their fraught, dysfunctional Sibling Relationship (160) is Black Rabbit’s #1 overall viewership driver. The pair have a long history of codependency, resentment, and trauma (Family Dysfunction, 121), and their current dynamic–a reignition of greed, anger, and Sibling Rivalry (115) after a long period of estrangement–sets up such an arresting trainwreck that viewers can’t look away. At the same time, and even in spite of mutual Betrayals (118), the pair’s loyalty runs bone-deep, with Jake risking his own neck and club to save Vince from past bad decisions. These multiple layers of complexity make for a compelling central relationship.

What’s making the show so addictive?
Suspense and tension. When Vince rolls back into town, on the run yet again from another deal gone bad, he’s suddenly faced with repaying a substantial debt to a dangerous loan shark who’s extremely eager to collect. With the loan shark’s enforcers threatening their livelihoods and loved ones (Near Death Experience, 115), the brothers must figure out how to get the money without getting anyone killed (High Stakes, 120; Under Threat, 114) or losing ownership of Jake’s top-tier restaurant. The series goes to some very bleak, pitch-black places (Dark Themes, 125) as it follows the pair’s chaotic decision-making, and it’s this overarching sense of stress and darkness that’s keeping viewers tuned in to see what happens next.

What could earn the show another season? 
The bookies. If Netflix and the showrunners change their minds about stopping at one season, there’s more juice to be squeezed from the unique and compelling Criminal Organization (135) that’s introduced in the show. Head boss Mancuso, his brutal henchmen, his keen-to-prove-himself son, and their wider criminal network are collectively Black Rabbit’s top driver for longevity, and the ins and outs of their sordid business offer plenty of opportunities for future storylines. Audiences will want to return for more of the same dark overtones and tense-filled emotions (Aggressiveness, 125; Contempt, 121; Disapproval, 113) that they ate up in season one.

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Who’s been tuning in for this intense new drama? 
We’re seeing an audience that skews toward men (56%) and those 35+ (92% on linear HBO)–a not-atypical viewership profile for male-fronted gritty crime thrillers on HBO. Shows like We Own This City, The Penguin, and the first season of True Detective had a similar bent. The showrunner’s own Mare of Easttown, however, leaned much more toward women (57%), likely because of its strong female lead.

What’s the show’s main pull? 
Parallel group dynamics. Task follows both a crew of violent drug den robbers, led by optimistic everyman Robbie, and the cross-agency task force assigned to bring them down, headed by haunted FBI agent Tom. The complex interplay within the teams, heightened by the compellingly unique personalities on each (Team Dynamics, 129), make up the show’s #1 ratings driver, with both sides balancing out the yin to the other’s yang. At the same time, Task goes deeper, tracing the fractured Family Relationships (116) in Tom and Robbie’s home lives as neither man can protect his loved ones from the darkness he’s drawn into at work. This secondary focus makes the series somewhat unique, as the Team Dynamics driver in gritty crime is much more likely to be paired with themes based on the group mission (Ambition & Drive, Dangerous Mission) rather than the players’ families back home.

How important are the individual protagonists? 
They drive the show’s bingeability. In addition to fitting the team dynamics, both Robbie and Tom make for fascinating character studies in their own right, with audiences eager to see them counter traumatic backstories (Overcoming Adversity, 135), grapple with questions of fatherhood and family, and generally confront their darkness and pain (Struggling, 114). The cat-and-mouse game that unfolds between them, with Robbie and his crew trying to outwit Tom and his team of agents (Being Hunted, 124)–culminating in a final resolute showdown (Confrontation, 110)–is keeping viewers glued to their seats, waiting to see how and if each man subdues his own demons.

What type of story is Task telling?
A multi-faceted one. While most obviously a dark, grim Crime (131) Thriller (119), the series also weaves in elements across several other genres to construct a more complex whole. Tom and Robbie’s archetypal standoff (cop vs criminal, good vs evil) alludes to a typical Western (118) while going much deeper, as both sides are much grayer than the stereotypical black and white.  At the same time, while Task is no whodunnit, it preserves some elements of Mystery (117) as Tom’s task force must link Robbie’s law-abiding public identity to his after-hours criminality (Secret Identity, 111), and both Tom and Robbie’s home lives offer up fertile ground for emotional Drama (113).

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