| re: SweeneyT grosses | |
| Posted by: ryhog 12:27 pm EST 02/28/24 | |
| In reply to: re: SweeneyT grosses - Singapore/Fling 10:35 am EST 02/28/24 | |
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| Good question and it highlights the challenge. A lot of the data is behind B2B paywalls. I'll give a few comments with the caveat (that you would have intuited) that I am in no way an expert on this subject, with most of what I know coming from what I've heard, either in general or in the context of casting ideas. 1. The IMDB ranking is historical, with no reliable casting value. For instance, Heath Ledger is top 5000, but beyond sadly unavailable. His countryman, Jacob Elordi is top 500 (and also likely unavailable for the near/mid future. 2. The traditional metrics (Neilsen, Q) have, controversially, proven to be pretty lame. 3. The new, largely secret, metrics are deep dives and multi-factorial. They are also scary: even though they are not sharing, Netflix et al know not only that you watched a show, and for how long, but what parts you watched and how many times. 4. The key word is "engagement" and it also has a large number of factors, including the one you mention, IG. For better or worse, I suspect AI is in the process of taking this data where it has never been before. Platforms that come into existence next month are not going to be measured conventionally next month. Similarly (and I am not sure if it is still the case), Nielsen was heavily criticized because its "streaming data" was limited to the big 5 streamers. (Younger, as an example, would have been a non-phenomenon, at least until recently.) 5. For theatre purposes, the key word is the one you used, "niche." Unlike film/tv analytics, even the largest theatres are looking for a relatively small audience. But as one of my mentors was fond of saying, you have to be greedy about hunting down a buyer for every ticket. If you look at what did not find every buyer this season alone, it gets back to what would have sold the next ticket. Every buyer (indeed most buyers) of a ticket because of Sutton is not going to buy because of Joe. Theatre producing and marketing and casting has to know that. (A good exercise to me is to process the flops through that prism.) |
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