Category: Uncategorized

Who’s the typical audience for these TV reinterpretations? 
It depends. The idea of a “cult classic” spans genres and storytelling styles, and the viewers who tune in for their series-length iterations are just as varied; horror comedy Ash vs Evil Dead (based on the Evil Dead trilogy), for example, attracts men (55%) and primarily those 35+ (90%), supernatural thriller Teen Wolf (from the 1985 Michael J. Fox film) has a broader age appeal (61% age 35+), and action-fantasy-romance Buffy the Vampire Slayer (a reimagining of the 1992 Kristy Swanson movie) is a big draw for women (65%). For Time Bandits, we’re seeing a viewership that leans mostly to men (64%) and those aged 30+ (64%).

Are shows based on these films likely to succeed? 
They quite often do. A number of these series have made a major impact on mainstream TV, and a few have even become cult classics in their own right. For example, Fargo (inspired by the 1996 Coen brothers movie) has won prestigious awards, Westworld (based on the 1973 Michael Crichton film) dominated the conversation in its early years, and Wet Hot American Summer: First Day of Camp (a prequel to the 2001 movie) reassembled a storied cast, and all maxed out our social buzz meter (at 160) with each new season’s  release. Time Bandits saw an encouraging upswing in online conversation (hitting a peak at 158) with its first episode and is now seeing weekly spikes with each new episode drop.

Why do viewers tune in for these types of series? 
To see a fully-realized world. Cult classic movies are often filled with fantasy and sci-fi, and their TV versions carry over the same trappings; their Magic (137) (The Dark Crystal: Age of Resistance, a prequel to the 1982 Jim Henson movie), Supernatural Forces (117) (Teen Wolf), and Paranormal Activity (118) (Ash vs Evil Dead) are typically top ratings drivers because they flesh out an original universe that truly pulls viewers in. Series that inhabit other genres use a similar technique, immersing their audience in unique real-world locales to jump-start viewership, from Fargo’s frozen north and its bumbling cops and criminals (Solving a Murder, 122; Moral Corruption, 120) to the karate dojo (Physical Activity, 144) of Cobra Kai (a sequel to the Karate Kid movies). Time Bandits does both, leveraging cool Time Travel (152) alongside a sense of everyday suburbia as its boy protagonist’s World Is Turned Upside-Down (142). Interestingly, these shows’ movie origins do not typically appear in their top viewership drivers; these series live or die by their own storytelling merits. (Time Bandits is a notable exception, as its IP Extension (116) helps promote its bingeability.)

What’s making Time Bandits stand out? 
Its Family (133)-friendly aspects and comical version of the past. Unlike most other cult classics, the main character in Time Bandits is an 11-year-old boy, and the show follows his young perspective as he travels through history with a band of adult thieves. His Child POV (136) and High-Stakes (117) Outdoor Adventures (122) in imaginative landscapes from Georgian England to the Harlem Renaissance to the realm of the ancient Mayans are top viewership draws. While the show delves into a similar general sense of Myth & Fantasy (117) as other series in this category, it nevertheless feels entirely original.

What keeps these shows going for multiple seasons? 
The character relationships. While their unique, unfamiliar worlds are the key to drawing in viewers, it’s the TV medium’s strength in crafting universally relatable character dynamics that keeps audiences coming back. The goofy Unlikely Friendship (117) at the heart of Ash vs Evil Dead, Cobra Kai’s heartwarming focus on Mentorship (146) and Parenthood (140), the growing Camaraderie (115) in The Dark Crystal: Age of Resistance, and Teen Wolf’s angsty Teen Romance (119) are all crucial drivers for each show’s longevity. For Time Bandits, it’s the Team Up (123) between the titular thieves and the young boy protagonist–a geeky outcast searching for where he belongs–that will push the story forward into future seasons.

Who’s been tuning in for this historical satire? 
We’re seeing a gender-balanced viewership that leans toward men (53%) and is mostly aged 30+ (69%), nearly identical to the audience for improv comedy Murderville and very similar to those for the dark humor-laced Bodkin, Mrs. Davis, Based on a True Story, and Bad Sisters.

What’s driving the show’s ratings? 
Friction at the villa. The series’ premise revolves around a collection of eccentric oddballs trapped in an isolated estate, Big Brother-style, and what begins as a medieval bacchanalia of luxury, sex, and wine quickly descends into Moral Corruption (127) and dog-eat-dog chaos (Chaotic Lifestyle, 119). The group ultimately dissolves into factions competing for control over the property, and Confrontations (139) increasingly escalate into Murder Violence (129). This deliciously soapy turmoil and who-will-survive conflict are what’s piquing viewer interest.

Which aspect of the show keeps viewers watching? 
The comedy. The top four drivers for the show’s bingeability revolve around its wry, quirky, and sophomoric jokes, from the dark Twisted Humor (160) surrounding the Black Death to the bawdy Sexual Humor (123) of its many debaucheries to the Arrested Development (132) of its kooky characters. Its class-based Satirical Humor (123) that ridicules the nobility–as well as its connection to a pandemic Outbreak (121)–particularly gives it a sense of modern relevance that audiences appreciate. The Decameron joins the likes of Search Party, Murderville, Bodkin, Mrs. Davis, Based on a True Story, Bad Sisters, and Barry in the importance of its dark, twisted comedy as a key driver.

What type of viewing experience are audiences expecting? 
A light and funny one. In keeping with its heavy focus on humor, the show leans into the type of upbeat emotions that generally accompany comedy, such as Amazement (139), Surprise (130), Joy (130), and Awe (130).

How’s the show’s social buzz? 
Really good. Though The Decameron’s mid-summer trailer drops caused barely a ripple, the show rocketed to the top of our buzz meter (to 160) with its July 25 full-season release. In addition to the humor, viewers are posting and tweeting about its soapy Multiple Storylines (117) that follow a whole host of bizarrely hilarious characters whose Emotions Run High (117).

Who will be tuning in for the rise of these supervillains? 
It depends. We’re predicting that Agatha All Along will have a relatively broader appeal, reaching a gender-balanced audience (50% men / 50% women) and leaning slightly toward those 30+ (57%)–very similar to predecessor WandaVision. In contrast, The Penguin will likely show a more targeted resonance, skewing heavily to men (74%) and those 30+ (66%), an even stronger bent than seen for fellow HBO/Max DC entrants Peacemaker and Watchmen.

What will these two series have in common? 
An exploration of evil. In spite of representing the DC-Marvel divide, both shows follow a unique, compelling villain hellbent on overcoming a world set against them and gaining power for nefarious ends. Spell-bound Agatha is on a Journey of Self Discovery (135) to revive her true magical self while Seeking Revenge (131) against the superpowered hero who stripped her of her dark powers. Oswald Cobblepot, an Underdog (133) in the criminal underworld, is dealing with a World Turned Upside Down (160) in the aftermath of a mafia kingpin’s death and is determined to take his place (Ambition & Drive, 116). These commonalities are all top viewership drivers. Additionally, both series’ ties to their respective cinematic worlds (Marvel Universe, 133; DC Universe, 133) propel their bingeability as viewers anticipate seeing them fit into the broader story.

What will set Agatha All Along apart? 
Comedy and a coven. As with most of its Marvel brethren, the show offers a strong dose of humor alongside its supercharged adventures, leaning into the Horror Comedy (124) genre as it follows the amusing Awkward Misadventures (120) of Agatha and her team of misfits. Similarly in the MCU vein, the series features a Team Up (158) of individuals with special abilities, in this case a coven of Witches (114) with magical Superpowers (136) who must band together to face the trials of the legendary Witches’ Road. While the villain-as-protagonist offers a less-common twist on the Marvel formula, viewers will be excited to see their same favorite aspects of the universe continued in this newest Phase Five series.

What will make The Penguin feel unique?
Gloom and gangsters. The Penguin takes on the opposite tone of Agatha, playing up the dark Noir (121) elements that landed so successfully in its predecessor film The Batman and amping up violent Confrontations (130) between truly Ruthless (118) criminals. Instead of a team, the series also follows a merciless lone wolf as he navigates the vice-filled Chaotic Lifestyles (127) and Family Tension (128) within a brutal Criminal Organization (120). Viewers will be on the edge of their seats experiencing the Terror (113) and Aggressiveness (111) right alongside the characters.

Do these shows have strong online buzz?  
Absolutely. Agatha All Along stands out as particularly buzzy, showing big spikes in online chatter (maxing out our social buzz meter at 160) with every Disney+ announcement, piece of production news, and, most recently, the new teaser trailer release, but The Penguin is no slouch either, peaking at (153) with its first-look production stills last year. Both shows are easily primed for social media dominance when their first episodes drop in September.

Who’s tuning in for this thrilling new miniseries? 
Women 30+. We’re seeing an audience that’s mostly women (63%) and notably 30+ (79% aged 30+)–the very same fanship that watches other women-led Mystery (130)–Crime (124) Dramas (118) like Love & Death, Candy, A Friend of the Family, The Staircase, and The Thing About Pam.

What’s pulling in these women 30+ viewers? 
The dual Women Protagonists (145). Lady in the Lake follows aspiring journalist Maddie Schwartz (Female Professional, 113), a Jewish housewife who leaves her overbearing husband to pursue what quickly becomes an obsession: solving the murder of Black woman bartender Cleo Johnson. The episodes follow both Maddie and the deceased Cleo, tracking their Inner Conflicts (121) and drawing parallels between their struggles for Independence (120) and Social Status (120) at a time when both Jewish and Black women often found themselves powerless and voiceless. All are key ratings draws.

What type of viewing experience are audiences expecting? 
An unsettling one. The emotions with the most ratings traction are those that play into the show’s darker, more conflicted elements. Viewers are looking to experience the same unsettling feelings and Emotional Turmoil (117) that follow both Maddie and Cleo throughout the story: Disapproval (120), Anger (115), Aggressiveness (115), Loathing (111), and Terror (110).

What will keep viewers watching? 
The suspense. As Maddie digs deeper and deeper for the truth and refuses to back off (Ambition & Drive, 115), she comes under threat from dangerous criminal elements (Life in Danger, 130) who have a vested interest in Cleo’s murder remaining unsolved. In addition, the fact that the show is based on a popular novel (Based on a Book, 123) makes fans want to compare this filmed version with the one they’ve read.

How’s the show’s social buzz?
Promising. Though its June trailer drop netted only a modest bump (to 113), the show saw a marked increase in online chatter (peaking at an outstanding 134) starting July 11 thanks to a notable ramp-up in publicity. Then, the July 19 release of the first two episodes pushed it over the top, maxing out our social buzz meter (at 160). Viewers are posting and tweeting about Maddie and her journey as well as the all-too-relevant Racial Issues (111) of 1960s Baltimore.

Who will be tuning in for this historical epic? 
Men. Thanks largely to its focus on brutal arena battles, we anticipate an audience that’s mostly male (65%) and mostly aged 30+ (65%). This profile is similar to other action-heavy series like Citadel, The Continental, Vikings, and DMZ, as well as fellow sword-and-sandals dramas Rome and Spartacus.

Why will viewers be adding Those About to Die to their queue? 
For the Roman Battle Action (148). The biggest ratings draw for this saga is the bloodthirsty Action & Violence (127) taking place in the unique environs of Ancient Rome (Distinctly Realized World, 129), which features ultra-high-stakes gladiator combat where only the winners survive (Life in Danger, 125). In leaning on brutal spectacle to pull in viewers, the series joins similar epics boasting original, fully-fleshed-out worlds like House of the Dragon, Wheel of Time, and The Legend of Vox Machina.

What type of viewing experience will audiences be looking for? 
An emotional roller coaster. Amidst its ferocious battles, the series promises a suspenseful mix of ups and downs that will in turn exhilarate and distress, with viewers carried along by the shifting inner turmoil of the gladiators as they cycle through emotions: from Surprise (116) to Vigilance (118), Awe (118) to Terror (116), Optimism (118) to Anger (113) and Aggressiveness (113).

What will keep audiences hooked? 
The political intrigue. In addition to the Circus Maximus, the show spotlights a vicious competition for power and influence (Power Struggle, 113) among players from all levels of Roman society, with enough Ambition & Drive (111) to make them dangerous. With contenders as varied as Emperor Vespasian and his sons, a savage boss of the criminal underworld, a patrician couple adept at pulling secret strings, skillful gladiator mercenaries, and a Strong Mother (113) desperate for Vengeance (120) after her son is forced into slavery, viewers will be kept on the edge of their seats wondering who will prevail. The fact that the series is Based on Historical Events (112) makes it that much more compelling.

What will help push Those About to Die to a second season? 
The gladiatorial Competition (135). Thanks to its to-the-death style of fighting, the show effectively features an Elimination Game (119) where any combatant in the ring (or, more broadly, any character fighting for power) could conceivably be killed off at any point. This ever-present sense of stakes helps create a robust story engine with the potential to drastically change the set-up for future seasons. Interestingly, Those About to Die depends on the same elements for its longevity as a number of reality game shows, including The Traitors, The Weakest Link, Ink Master, RuPaul’s Drag Race, and The Voice (as well as fellow drama Squid Game).

Who’s been watching this fun new series? 
Older women. We’re seeing a viewership that’s mostly female (66%) and mostly aged 30+ (61%), a profile extremely similar to the streaming audiences for other historical dramas with strong leading ladies, such as Bridgerton, Outlander, Dickenson, Reign, and The White Queen.

What’s the most important genre in its mix? 
Romance. My Lady Jane is a freewheeling blend of various eclectic elements, from History (131) to Fantasy (123) to Adventure (120), but it’s the sparkling Romantic Tension (147) between core couple Lady Jane and Lord Guildford that’s driving ratings. At the same time, a healthy dose of suspenseful action and narrow escapes (Life in Danger, 116), combined with dark, raunchy comedy (Adult Humor, 116) and a dryly witty Voice-Over Narration (126), offers strong support and maintains the show’s bingeability.

How important is Jane herself? 
Very. Gutsy and complex, Jane is a Strong Female Protagonist (134) that makes waves and draws viewers. In an era when women’s only option is marriage, she’s determined to maintain her independence, her power–and her head, in a clever twist on the tragic real-life history (Based on Historical Events, 112). Her Bravery (123) in fighting back against her prescribed place in society–especially with her family in dire financial straits (Overcoming Adversity, 132)–and her Life-Changing Decision (114) to go her own way even after she’s forced to wed not only gooses ratings for the series but will also boost its chances of reaching a second season.

What else is drawing viewers to My Lady Jane? 
Palace intrigue. With a focus on British Culture (114) that’s especially appealing in America, many of the characters surrounding Jane are also pulled straight from the annals of English Tudor Royalty (128): Edward VI, Mary I, Elizabeth I. As the story opens, Edward is on the throne and Mary and her lover are scheming to take over, engaging in all sorts of Political Manipulation (118)–including some carefully-placed poisons–to sate their nefarious Ambition & Drive (125). Their twisted machinations create a secondary pull for both ratings and bingeability as audiences stay tuned to see what happens.

How’s the show’s social buzz? 
At the top of the charts. The online chatter surrounding My Lady Jane immediately maxed out our social buzz meter (at 160) with the same-day release of its entire first season, and it has remained there ever since.

How does this audience compare to Apple TV+’s sweet spot? 
It’s older. For Presumed Innocent, we’re seeing a viewership that’s mostly female (64%) and heavily aged 30+ (83%). While Apple TV+’s other twisted mystery-thrillers like Defending Jacob, Shining Girls, Surface, and Suspicion also skew similarly toward women, they tend to run a bit younger (69-76% aged 30+).

Why have audiences been tuning in? 
To see if he did it. The show’s trailer heavily teases the Mystery (128) of attorney Rusty Sabich’s guilt or innocence, and this irresistible hook is exactly what’s capturing viewers’ attention; audiences are dying to know what Secrets & Lies (141) the seemingly shady lawyer may be hiding. In addition, his shame and remorse over his uncovered affair (Feeling Guilty, 115) and the resulting Family Tension (112) that sets him at odds against his wife and kids create a rich emotional backdrop for the central murder case.

What’s making the show so bingeworthy? 
The entire legal circus. Beyond core Murder Suspect (119) Rusty, Presumed Innocent zooms out to follow a number of key players involved in the investigation and trial (Multiple Storylines, 131), including Rusty’s wife, the murder victim, the police, and the prosecuting attorneys (and Rusty’s former co-workers). Audiences won’t be able to look away from the climactic courtroom scenes that bring all of these players together (Courtroom Drama, 132). The fact that this series spools out the clever twists of the source novel (Based on a Book, 130) is also an important driver of bingeability.

What kind of viewing experience are audiences leaning into? 
An intense one. The show places its Crime (128) Thriller (116) elements front-and-center and leans into a host of tense, negative emotions like Fear (131), Surprise (131), Terror (131), and Vigilance (131) as the high-stakes trial plays out. Viewers are kept on the edge of their seats waiting to find out the ultimate truth.

Is the show being talked about online? 
Definitely. Presumed Innocent rocketed to the top of our social buzz meter (at 160) with its first episode drop and has maintained that level of chatter pretty consistently ever since. Viewers are typing and tweeting about the central murder mystery and speculating about Rusty’s guilt.

Who’s typically watching these types of shows? 
Viewers 30+. However, while nearly all examples of this subgenre skew older, the most successful entries appeal fairly broadly across both men and women. Rather than fitting squarely within one quadrant, as many of the one-and-done series do, shows like Succession (50% male / 50% female), House of Cards (48% male / 52% female), Veep (54% male / 46% female), Industry (55% male / 45% female), The Bear (45% male / 55% female), and Billions (55% male / 45% female) land best with a relatively gender-balanced audience.

What type of viewing experience sets the most popular shows apart? 
An intense one. While this subgenre encompasses a variety of storytelling styles, from upbeat comedy to layered drama to twisted satire, the shows that stand out the most tend to offer a harsher, more unflinching look at the raw power dynamics of their respective workplaces. Nearly across the board, the overachievers draw viewers with unpleasant, blood-boiling emotions like Anger (118, House of Cards), Loathing (117, The Morning Show), Contempt (116, Empire), Aggressiveness (116, The Newsroom), Disgust (127, Silicon Valley), and Terror (137, Industry)–even the shows styled as comedies (e.g. Veep, Silicon Valley, Mythic Quest). In contrast, less successful series are more likely to lead with positive feelings such as Awe, Love, Ecstasy, and Trust.

Which common story element is most appealing? 
The cutthroat competition. In keeping with their negative emotional approach, successful power-based series tend to focus hard on the ugly, dark side of their central premise. Viewers tune in largely to see morally compromised protagonists relish in their own unique style of deception and backstabbing: the Corruption (128) of a televangelist family (The Righteous Gemstones); the Scheming (123) of an aggressive hedge fund manager (Billions); the twisted Ambition & Drive (119) of an amoral politician (House of Cards); the demented Rivalry (114) between two tech companies (Silicon Valley); the absurd Ruthlessness (121) of a presidential hopeful (Veep); the unhealthy Competitiveness (124) of a rebellious chef (The Bear). These displays of naked ambition and workplace dysfunction (Difficult Workplace, 124, Industry) largely drive ratings for the most successful entrants in this subgenre.

What are the characters typically fighting to win? 
The trappings of success. While these shows’ ambitious protagonists do compete for the intoxication of raw, naked Power (141) (Billions), many fight just as hard for adjacent desires like Money (131) (Succession), Vengeance (134) (Empire), and Social Status (143) (House of Cards). And the fact that these battles take place within a wide variety of fascinating settings–the Culinary World (120) of The Bear, the drug-based Crime Family (117) underworld of Power, the Music Industry (128) of Empire, the early morning Show Business (125) world of The Morning Show–is what makes these series so eminently bingeable.

What keeps the most successful shows running long-term?
The character relationships. Though the epic power struggles are what lure in viewers, it’s the series’ more relatable interpersonal dynamics that keep them watching season after season. For most of these standout shows, longevity is driven by compelling central relationships in which audiences want to invest–even though the characters themselves are often terrible human beings: Father-Child Relationships (111) (Succession), Mentorships (118) (The Good Fight), Parenting Problems (120) (Veep), Sibling Rivalry (134) (The Righteous Gemstones), Family Relationships (124) (Power), a Marriage of Convenience (113) (House of Cards).