To examine genre preferences and whether they change over time, we selected three programs that aired in the spring and are now continuing in the fall: Desperate Housewives (ABC), Ghost Whisperer (CBS), and Heroes (NBC).B We then created two bubble charts for each program.B The chart on the left is based on April/May viewing habits, while the one on the right is based on September/October viewing habits.

The charts on the left look extremely similar to the charts on the right. B Most audiences had the same proclivity to the show in the spring as they do now in the fall.B Core audiences (upper-right quadrant) are mainly constant.

B Correlation in these charts is high, as we would expect.B Both Relative Segment Reach and Attentiveness tend to be similar by genre segment for spring episodes and fall episodes of the respective shows.B The table below illustrates these high correlations:

Finally, the two charts below plot Segment Reach and then Attentiveness for spring and fall, with each point representing a genre segment.B All six trendlines are at around a 45 degree angle, further indicating the high correlations.

B

B Further analysis could recreate this exercise for a larger quantity of programs.

Basically, everybody is watching everything all the time.B People may be loyal to a few programs and sampling a broad range of other programs.B It follows that the audience tuning in to any one program is a medley of audiences with diverse genre preferences.

Simulmedia has been working to understand this medley of audiences to the advantage of programmers interested in finding better and bigger audiences and to the benefit of viewers seeking content aligned with their preferences.

We’ve developed a few tools to help us on our way:

• Genre Segmentation – We’ve defined audience segments who tuned in to similarly classified programs. For example, “Laughtrackers” are more likely than the average viewer to watch sitcoms. “Remote Detectives” prefer crime dramas.
• Audience Program Consumption Bubble Chart – A data visualization plotting segments’ relative reach and attentiveness to a selected program.

In the example below, to understand how audiences allocate their attention to a show, we examine the interaction of twenty-one genre-based audiences with an hour long drama show on one of the major broadcast networks.

The Y-axis represents Attentiveness, measured as the average minutes viewed per show per viewer, the X-axis represents the Relative Segment Reach which is the percentage of audience segment that views the show, and the area of the bubbles represents the number of total viewers within each segment.

We think this tool is useful to refining the program’s promotional strategy.B Through review of the Program Bubble Chart program marketers can learn which audiences represent the core and which might be engaged to increase their loyalty.

Analyzing the quadrants…

Top-Right Quadrant: The show has a high penetration and high attentiveness among the DIY’ers, Heartstringers, Song & Dancers, Weekend Movie Watchers and Dramedy Devotees.B These audiences watch most of the show and do not get distracted easily by shows aired during the same time.B These audiences form the show’s core viewers.

Top-Left Quadrant: The show has a smaller following among Fake News Followers, Hecklers and Animated Grownups. These audiences are as attentive as show’s core viewers, and may be possible acquisition candidates as the show looks to expand its viewer base beyond its core.

Bottom-left quadrant: The show has smaller penetration in the TV Naturalists, Biography Buffs and Basketball Fans. Additionally as these audiences have low attentiveness they are at this show by accident or by channel surfing – and leave soon after they arrive.

Bottom-right quadrant: The show has high penetration into Thrill Seekers however they watch the show for a shorter period. This indicates that these audiences left the show after sampling it for a short while or were waiting for the next program to begin.

Thoughts, Questions, Comments welcome…….