Netflix Data Revealed: How Long It Takes to Get Hooked on ‘Breaking Bad,’ ‘Mad …

24 Sep 2015 | Author: | No comments yet »

Australian streaming TV addicts slower to get hooked: Netflix.

In the week that American networks premiere, and make swift judgments about, their new TV series for the 2015-16 season, the Netflix analysis also shows viewers don’t become hooked on new TV series during the pilot episode. Netflix crunched cold, hard viewing data for more than two dozen TV shows and says it has determined which specific episode grabbed most subscribers to the point where they watched the entire first season.A new study by Netflix analyzed 25 popular shows — both Netflix original series and other network shows — and determined that the average episode users got hooked on was episode four. “In our research of more than 20 shows across 16 markets, we found that no one was ever hooked on the pilot,” Ted Sarandos, chief content officer for Netflix, said in statement. “This gives us confidence that giving our members all episodes at once is more aligned with how fans are made.” The Data was pulled from accounts all across the world that started watching a specific series between January 2015 and July 2015. Netflix analyzed global streaming data for the first seasons of several popular shows looking for signs of when people latched onto a specific title and began bingeing.

But the figure varied across different series, with the legal drama Suits and the thriller The Killing the earliest to grab viewers in Australia, at the third episode, one episode earlier than the hyped Netflix drama Orange is the New Black. Acclaimed cable hits “Breaking Bad” and “The Walking Dead” and Toronto-filmed legal drama “Suits” had Canadians hooked by the second episode. Ricky Gervais’s comedy series Derek also hooked streaming viewers here by the fourth episode, while House of Cards, Breaking Bad and Bloodline took five episodes compared with 10 episodes for the action drama Arrow and 11 for the sitcom How I Met Your Mother. In the traditional TV biz, conventional wisdom holds that a show’s pilot is the most critical linchpin to igniting viewer interest, given the nature of how new television programs debut.

But don’t get the wrong idea: Netflix has no plans to use Big Data to rejigger the way TV shows get made, in order to put the strongest emotional hooks earlier in a season (which would result in more viewing by subscribers). The data is difficult to translate to traditional free-to-air television because the data is for pure content available without commercial breaks and for viewing at any time. But it might take 30, 60, 90, 120 minutes to really get enough information for you to decide if you want to invest with these characters and with this world.” “Friends” co-creator Marta Kauffman has decades of network experience under her belt.

Nevertheless, it corroborates anecdotal evidence in which some TV series have enjoyed far more successful lives as DVD or pay-TV “binge” shows rather than on FTA television, or even gone on to long lives after slow starts. For example, in “Breaking Bad” season one, the “hook” was episode 2: the one in which Jesse Pinkman dissolves a drug rival in a bathtub — and the disintegrated remains crash down through the ceiling. But the veteran showrunner said Netflix encouraged a fresh approach to crafting the pilot for her new series “Grace and Frankie,” which stars screen legends Jane Fonda and Lily Tomlin. “The freedom that the writer gets from that is not having to establish every single character and every single thing and ‘What’s all of their back stories?’ You don’t have to do that for Netflix. Sarandos said the ability to binge-watch programming has likely had an impact on conventional networks, which are now giving shows more time to build followings. “Because of that full season order, you can invest in a show and actually make a better show than trying to do a pilot.

You’ll get to keep your current user name (as long as it doesn’t contain invalid characters, in which case you’ll have to go through a few extra steps to make the transfer), and all your old comments will eventually (not immediately) migrate with you. The new US season began on Monday with Australian Sullivan Stapleton’s new NBC drama, Blindspot, launching successfully with 10.6 million viewers, while in Australia the Seven network can claim another drama hit after 800 Words, starring Erik Thomson, averaged 1.2 million metro viewers, and 2 million nationally, for its important second episode, suggesting Australians are “hooked”.

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