Category: Uncategorized

Who’s been tuning in for this zany new comedy? 
The audience remains gender-balanced (51% men / 49% women) and skewed 30+ (57%), closely mirroring Man vs. Bee. This similarity is striking given the tonal shift from the original’s aggressive, adversarial slapstick to Man vs. Baby’s softer, holiday-inflected setup, suggesting that viewers are following the character and comic engine rather than the specific nature of the conflict.

What does this new sequel have in common with its predecessor?
Over-the-Top Humor. Both series serve up a farcical, exaggerated style of comedy full of the Awkward Misadventures of its child-in-an-adult’s-body (Arrested Development) protagonist. In both series, the hapless Trevor ends up housesitting for a very wealthy couple, and shenanigans immediately ensue (Awkward & Funny Moments) as he attempts to solve outlandish problems in his own ridiculous way (Amateur Hour). The humor is a top driver for both ratings and bingeability, pulling audiences in and keeping them engaged.

What’s setting Man vs. Baby apart? 
Warmth and good cheer. Man vs. Bee is a story of adversaries as Trevor goes to increasingly absurd lengths (Scheming, 140) to eliminate a pesky bee that has snuck into the mansion he’s occupying. The tone is sharper and more overtly slapstick as his attempts escalate wildly (Obsession, 115), but while the seemingly immortal bee manages to escape a pillow, tennis racket, plunger, hammer, flamethrower, and rocket, the priceless decor in the mansion is not so lucky (Committing a Crime, 160). In contrast, Man vs. Baby is a story of allies, as Trevor finds himself watching a seemingly abandoned infant over the Christmas holidays (Seasonal Setting, 160). This sequel takes a much softer, more heartwarming tone as Trevor bonds with the baby (Adopted Family, 160), and the comedy arises not out of destruction but rather Trevor’s bumbling attempts to play nursemaid and figure out where the young boy belongs (Feel Good Humor, 125).

What’s most appealing about Man vs. Baby in its native UK? 
The lighter comedy. Unlike American audiences, who are most drawn to the show’s more absurd, exaggerated elements (Over-the-Top Humor, 160 US; Amateur Hour, 160 US), British viewers are somewhat more invested in the gentler Feel Good Humor (160 UK), wryer Awkward Misadventures (154 UK), and blunders of Work-Life Balance (132 UK) as Trevor tries and fails to juggle housesitting, the baby, and obligations to his own family over Christmas. However, in spite of their lean-in to the softer tone, UK audiences are not interested in the actual warm fuzzies of the season, with the holiday atmosphere (Seasonal Setting, 59 UK) and sentiments of Adopted Family (55 UK) rating low on the list of drivers and falling into “disappointing” territory (again unlike the US, where both instead land in the “outstanding” range).

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Who’s been adding this historical action-thriller to their queue? 
We’re seeing a viewership profile that skews toward men (62%) and especially those 35+ (80%). This audience is less gender-balanced than Shōgun (53% men / 68% aged 35+) and far less age-balanced than Squid Game (49% men / 46% aged 35+).

Why are so many viewers pressing play? 
For the hero’s journey. Last Samurai Standing takes place early in Japan’s Meiji era, the period that overthrew shogun feudalism and restored imperial rule. Samurai–fierce, celebrated warriors granted riches and rewards by the shoguns–became obsolete nearly overnight as the new government pushed them out and stripped them of their privileges and identities. When the series opens, protagonist Shujiro Saga, formerly a highly successful samurai, is now wretchedly poor and struggling as his wife and child fall gravely ill in a cholera outbreak. Desperate to help them, he signs up for a mysterious competition that promises a fantastic cash reward; the catch is that he must battle 292 other former samurai and end up the last man alive (Life in Danger, 121). Audiences are tuning in to root for Shujiro as he climbs each stage of the challenge, using every bit of his hard-won samurai Survival Skills (125) and becoming a One Man Army (113) to best his rivals and hopefully secure a future for his family.

What’s making Last Samurai Standing so binge-worthy? 
The heart-pounding thrills. The various stages of the anything-goes competition turn into all-out violent melees (Battle Action, 121) as every samurai fights for his life with swords, spears, polearms, guns, and anything else they can get their hands on. As the killing goes on and bodies brutally pile up (Bloody Violence, 119), the Stylized Action & Violence (118) is keeping viewers riveted and glued to their seats. The action is further sweetened by its unfamiliar trappings, as the weapons and fighting styles of Meiji Japan (Non-US Setting, 125) inject a sense of novelty. Audiences are also intrigued by the competitors’ overarching Moral Dilemma (132), as they must choose between victory and their deeply-held honor as warriors.

What’s pulling in audiences in the show’s native Japan? 
The artistry and history. Japanese viewers are especially drawn to the beautifully choreographed aspects of the Stylized Action & Violence (124 JP) and the fact that the show delves into (and fictionally expands on) a part of their country’s history (Based on Historical Events, 113 JP). This market is more compelled by the series’ worldbuilding and historical canvas than by Shujiro Saga’s personal journey, and the idea of the protagonist as a One Man Army (105 JP) with Life in Danger (101 JP) rates as only an “average”-level ratings driver

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Who’s been watching this tense new drama? 
We’re seeing an audience that skews female (64%) and heavily 35+ (86%). This profile is less gender-balanced than Claire Danes’ prior crime thriller Full Circle and slightly older than most other streaming entries in the genre (e.g., The Girl Before, The Fall, The Patient, The Stranger, The Watcher). It also leans more female than non-fiction docuseries The Jinx (58% women).

Why have so many viewers been pressing play? 
For the mystery and tension. Viewers are leaning into the danger and dark charisma surrounding Aggie’s enigmatic neighbor, Nile Jarvis. Drawn into his inner circle to investigate the disappearance of his first wife (Dangerous Mission, 127), Aggie—still grappling with her own trauma (Psychological Turmoil, 120)—forms a warped Unlikely Friendship (136) with the suspected murderer. Her pursuit of the truth is what’s hooking audiences and driving ratings, as viewers tune in to see whether she can Solve the Mystery (122) without losing herself—or her life—in the process.

What’s making audiences want to keep watching? 
The dark and the light. The Beast in Me explores Aggie’s profound grief after losing her young son (Trauma & Tragedy, 123; Death of a Loved One, 116), and it’s her fragile emotional state that draws her into Nile’s orbit. The show’s descent into Dark Themes (150)—murder, loneliness, manipulation, violence, depression—is intensely compelling, yet viewers are also connecting to its threads of hope. The story weaves in A New Beginning (120) as Aggie reconnects with her writing and begins to Overcome Adversity (123). These contrasting emotional forces are driving the show’s bingeability.

Why are viewers comparing this show to The Jinx?
Largely because of Nile. Viewers see echoes of Robert Durst in Matthew Rhys’ portrayal—his narcissism, psychopathy, and the lingering question of whether he killed his first wife. But because The Beast in Me is anchored through Aggie’s perspective, its key drivers are very different. While The Jinx drew its pull from Durst’s unraveling Mental Health (160), Family Secrets (146), and notorious confession (Personal Revelations, 140), The Beast in Me centers far more on Aggie’s emotional journey and psychological descent.

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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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