![]() ![]() ![]() ![]() Even before I looked at any data, if you asked me, “Hey, Murder Mystery 2…” and I interrupted you and said, “The Adam Sandler Netflix comedy from a couple of years ago?” and you replied, “Yeah, you remembered that?” “Sure,” I’d reply, “I’ve been doing this data thing for a while now.” Anyways, if you finally finished your question and asked, “So what will win, a buzzy film about Tetris starring Taron Edgerton or Murder Mystery 2?” This week’s head-to-head film comparison just isn’t a fair fight. While most data points are current, Nielsen’s data covers the weeks of March 27th to April 2nd.) Film – Murder Mystery 2 versus Tetris market and compiles data from Nielsen’s weekly top ten viewership ranks, ShowLabs, TV Time trend data, Samba TV household viewership, company datecdotes, and Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. (Reminder: The streaming ratings report focuses on the U.S. Read on for “ Tetris versus Murder Mystery 2”, my confusion about streaming services’ scheduling, The Night Agent’s big second week, TV Time’s Q1 Report Card, big ratings for sports and awards shows, and a lot more. This week was a pinch light on buzzy/big TV shows instead, most of the action was on the film side. Since Nielsen didn’t publish their data until Friday last week, this report is one (business) day late. You also need smart people to analyze this data to figure out what’s a hit, what’s not, and put everything in context. Which is why this report exists! I don’t write this report just for executives and biz affairs folks I also write it for talent, like WGA screenwriters and low level producers, who don’t have access to the studio’s data and databases. Information asymmetry puts screenwriters, directors, showrunners, actors, et al at a competitive disadvantage if they don’t have this data the streaming companies work very hard to keep this data secret from screenwriters, especially during negotiations.īut I’m not sure that I’ve heard any WGA negotiators argue for this. And the WGA should demand more! Luckily, we have streaming ratings data now, something that I think countless screenwriters don’t realize-I’ll be writing about this more later this month-but we definitely need way, way more. In short, I think increasing flat-rate residuals could backfire for the guild if it causes streamers to pull even more underperforming shows, en masse, from their streaming services.īut how do you know if something is underperforming? You need ratings data. To all of my new WGA and screenwriting readers, welcome! Depending on when/how the negotiations go, I’ll have more to write on that topic, but for a quick reminder on what I’ve written before, please check out my article on flat rate residuals that I wrote for the Ankler. Last week’s article on the WGA is one of my best performing articles of all time! And I couldn’t be more relieved. That result genuinely surprised me. (My editor/researcher has been furiously researching the WGA, their demands and their contracts, then trying to figure out how to compile all of that research into one article) Then, before I sent the article out to everyone, I got very nervous about how it would be received.īut by the end of the week…I’m so grateful. It’s been quite a week for me and my team! At first, I was frustrated as I tried to wrangle literally weeks of research into something coherent. If you were forwarded this email, please subscribe to get these insights each week.) (Welcome! This is the Entertainment Strategy Guy’s weekly streaming ratings report, the single best guide to what works on streaming and what doesn’t. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |