Category: Uncategorized

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).

Who’s been tuning in for this ripped-from-the-headlines drama? 
Older men. We’re seeing a viewership that’s mostly male (63%) and mostly older (63% aged 30+), an unsurprising skew given its NBA focus. This profile is similar to the SVOD audience for Winning Time as well as other sports-based scripted shows like Mike, Heels, and Ballers.

How important is the ‘sports’ of it all?
Absolutely crucial. For Clipped–as with Lakers drama Winning Time–the core sports genre is what’s pulling in audiences; for both series, their Sports Focus (160) is their #1 overall viewership driver. Fans want a courtside seat to the real-life goings-on of the NBA, particularly the Coach-Athlete Relationships (140) and Mentorships (141) found within each professional team.

How is Clipped different from Winning Time? 
It’s darker. Winning Time chronicles the cheer-worthy rise of a storied basketball dynasty, charting the Lakers’ ascent toward Winning (118) and Stardom (120) and, thanks to the players’ enduring renown, takes on a Celebrity Focus (125); viewers jumped on board to experience positive emotions like Admiration (124) and Awe (124). Clipped, on the other hand, in a sense tells the opposite story: a struggling team of Underdogs (148) brought even lower by a racist Scandal (124) filled with heated Confrontations (119) and Emotions Running High (118). Accordingly, audiences are tuning in expecting a much more negative viewing experience, with feelings like Fear (119), Aggressiveness (117), and Anger (117).

What happened with the leaked tape? 
It led to an important moment in sports history. The publicized recording of team owner Sterling’s racist rants in 2014 resulted in a media frenzy that brought to light a host of Racial Issues (133), not only within the Clippers organization but also the wider NBA. Clipped showcases the increasingly tense Interracial Relationships (128) between Sterling and the team’s Black players and staff, including Coach Rivers, as it explores whether Sterling’s ultimate downfall created real, lasting change. This grappling with questions around racism and racial reckoning is a core ratings driver for the show.

How is Clipped’s online chatter?  
Promising. The show maxed out our social buzz meter (at 160) with its two-episode June 4 premiere and spiked again with last week’s release of episode 3; it’s poised to follow in the footsteps of Winning Time, which saw similar renewed chatter for each weekly episode drop. For Clipped, viewers are largely talking about Donald Sterling’s repulsive Abuses of Power (133) during his reign as team owner as well as the broader racial issues his leaked tape brought to light.

Who’s been tuning in for this limited series drama? 
We’re seeing a viewership that leans female (55%) and is heavily older (77% aged 30+). This profile is somewhat more gender-balanced than the typical mystery-crime-thriller audience; while nearly all entrants in this genre do skew 30+, streaming viewers for shows like Three Pines, Shining Girls, The Killing, Mare of Easttown, Big Sky, Truth Be Told, and The Undoing tend to skew much more female (61-68%).

Why have viewers been checking it out? 
To find out what happened to Edgar. Eric’s top ratings drivers revolve around the search for the missing boy; audiences want to follow along as his parents–and the police–embark On a Mission (136) to uncover the truth (Searching for the Truth, 143) of their son’s fate. These Mystery (133) aspects parallel similar series whose key draws also depend on unraveling knotty, season-long crimes, such as Mare of Easttown (Murder Mystery, 114), Three Pines (Murder Mystery, 141), The Killing (Hidden Truth, 132), and Shining Girls (Searching for the Truth, 117).

What keeps audiences watching? 
The father’s struggle. Though pulled in by the mystery, viewers become hooked on the story of an increasingly distraught puppeteer who, spiraling on substance abuse and desperation, becomes convinced that a seven-foot-tall monster puppet named Eric will help him reunite with his son. The father’s increasingly volatile behavior (Struggling, 120), which pushes away his family (Husband-Wife Relationship, 137) and friends, as well as the 1980s NYC Setting (120) in which the story unfolds, are important drivers of the show’s bingeability.

What type of viewing experience does Eric offer? 
An Emotional Roller Coaster (136). The show shifts back and forth between the Trauma & Tragedy (129) of the present and much happier flashbacks of the family’s recent past. It is these lighter moments–along with flashes of hope during the search–that audiences find most appealing from the get-go; more positive emotions like Joy (130), Optimism (130), Awe (127), and Amazement (127) are stronger ratings draws. At the same time, the darker, more thrilling side of the story–as well as the father’s descent into near-madness–is what’s keeping audiences hooked; negative feelings like Vigilance (115), Anger (115), and Aggressiveness (114) most impact bingeability.

How has the show been faring in social buzz? 
Great. Though its trailer drop made some waves, its May 30 episode release caused a huge spike in online chatter: Eric premiered at #3 on Netflix’s top 10 shows list and has maxed out our social buzz meter (at 160) for the past two weeks. Viewers are talking about the central Family Tragedy (135) of A Missing Loved One (119) as the desperate parents search for their son.

Who’s the core audience for a successful historical saga? 
Older viewers. While a standout period drama can effectively appeal to either gender–and there are numerous examples in both camps, from the male-skewing Shōgun (62%), Peaky Blinders (65%) and Deadwood (60%) to the female-heavy Bridgerton (83%), The Marvelous Mrs. Maisel (68%), and The Crown (72%)–the core demo they all have in common is a viewership that’s primarily aged 30+ (63-96%). The most popular shows seem comfortable leaning heavily into this built-in older audience, whereas less successful entrants in the subgenre, in contrast, tend to aim just a little bit younger.

What’s one of the key draws of the subgenre? 
A subculture deep-dive. The most compelling historical sagas on TV share a common thread: they all excel at bringing a specific time period to life, creating vivid, fully-realized worlds that viewers can’t resist exploring. Outlander, for example, time-travels between different periods in English and Scottish history (British Culture, 121); Peaky Blinders showcases a seedy Criminal Organization (129) in 1919; Downton Abbey looks at the upstairs-downstairs divide of English High Society (160), The Crown at modern English Royalty (160), Vikings at early Norse explorers (A Subculture Up Close, 119), Mad Men at 1960s Madison Avenue (A Subculture Up Close, 123), and 1923 at early twentieth-century American History (139). For these and other hit series, viewers tune in–and keep watching–to spend time in a rich, compelling, fully-fleshed out world that they haven’t seen before, and this aspect is an important driver across all four of our key categories (ratings, bingeability, social buzz, and longevity).

What’s the main storytelling approach among the most popular shows?
A focus on family. Across the most popular historical sagas on television, one storytelling approach consistently emerges as a key to success: anchoring the narrative in the dynamics of family relationships. From a family-run crime gang (Peaky Blinders, Family Relationships, 137) to a pair of married Russian spies (The Americans, Working with Family, 159), a tight-knit Scottish clan (Outlander, Extended Family, 126) to royalty confronting succession (The Crown, Family Legacy, 152), and a chaotic New York Jewish household (The Marvelous Mrs. Maisel, Family Disagreements, 160) to a kinship of Viking raiders (Vikings, Family Relationships, 160), the best series lean on the universality of family to keep their otherwise alien stories feeling grounded and relatable. In contrast, less successful historical sagas are more likely to feature other types of relationships (co-workers, teams, friends, wider communities) that, from the audience’s perspective, may not provide as rich a milieu to explore the norms of different eras.

Is there one specific tone that determines success? 
Not at all. The top period dramas depend on a wide range of emotional experiences to pull in viewers. Some tend toward the upbeat and positive, calling up emotions like Amazement, Joy, Optimism, Love, and Awe (e.g., Bridgerton, Call the Midwife, The Chosen); others swing negative, drawing on darker feelings like Anger, Sadness, Contempt, Loathing, and Fear (e.g., 1923, Deadwood, Peaky Blinders, Boardwalk Empire); and still others revel in covering both the highs and lows of the human experience in equal measure (e.g., Shōgun, The Crown, Downton Abbey, Hell on Wheels, Reign).