“You’re trying to figure out what’s going on based on minuscule pieces of data that are irrelevant.” “It was like, ‘Hey, look, this person in Korea is saying something about the show. He deduced that No Good Nick was perhaps popular in Brazil because he saw numerous tweets in Portuguese, which he translated into English. Steinberg spent almost every day retweeting nice things that people said about the show and resisting the urge to argue with critics. Steinberg and Kogan saw Twitter as a proxy for how the show was doing. And what good are numbers if you don’t have a comparison? To Steinberg, that wouldn’t have mattered: The first season was released all at once, so he couldn’t have changed the script between episodes based on ratings. Netflix wouldn’t give them viewer numbers. “They say, ‘Here’s what we’re going to tell you, and here’s what we’re not going to tell you,’ ” said Steinberg, who partnered on the series about a teenage con artist with Keetgi Kogan. Here are a few of their stories: ‘Hey, look, this person in Korea is saying something’īefore releasing No Good Nick last year, Netflix executives told co-creator David Steinberg that he wouldn’t know everything. Which is why some TV people have developed their own highly unscientific methods for determining if their shows have entered the zeitgeist. For others, knowing how many people are watching is valuable when negotiating. They say they do their best work without the pressure of ratings. didn’t respond to requests for comment.įor some showrunners, the ignorance is bliss. Hulu, owned by Walt Disney Co., doesn’t share weekly viewership numbers with show creators, but does relay audience trends, like how many subscribers were still watching a show after three episodes or where they dropped off. Since last year, Netflix has started sharing some viewership data with producers and creators, such as the number of households that watch two minutes of a movie or one episode of a series and how many watch 90% of a movie or one season of a show in the first seven and 28 days. Nielsen, which for decades guided executives with its ratings estimates, is trying to count viewers on streaming services, but the services have disputed the findings and say that audience size is only one metric they use to decide whether to keep a show alive. Before the first one, she couldn’t sell out a comedy club and put tickets on Groupon after the first special premiered, her next show sold out in two minutes. ![]() “To this day I still don’t know how many people watched either of those specials.” Instead, Wong measures their popularity based on the attendance at her live shows. “They’re so secretive about their metrics,” star comedian Ali Wong, who had two buzzy Netflix specials, told Conan O’Brien on his podcast in March. On Netflix, Amazon Prime Video and Hulu, viewer numbers are closely guarded. With the rise of streaming, creators are unable to answer a very basic question: How many people watch their shows? In the first quarter, Netflix added nearly 16 million paid subscribers who had nothing but time during the coronavirus pandemic to binge watch Tiger King and Love Is Blind. to rope off the viewer data that empowers writers and producers. But streaming has upended the old order by allowing companies like Netflix Inc. ![]() In Hollywood, knowledge is power, and creators who deliver high audience ratings on broadcast and cable earn millions. “I’m not sure what that audience is, but it feels like our show is important,” she said. She knows how many Twitter followers the actors have, which she considers a sign of the show’s popularity among the young and social media obsessed.īut the one thing Iungerich doesn’t know is how many people watched the coming-of-age comedy, which debuted its third season in March. She knows Netflix included it on a list of its most binge-watched programs that year. Lauren Iungerich knows that her Netflix show, On My Block, was one of the most-searched-for on Google in 2018.
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