#streaming analytics market

[letsvishu]

Unlocking Real-Time Data with Streaming Analytics Market

The increasing demand to handle data in real time and the increase in big data have contributed to the expansion of the streaming analytics market. The streaming analytics market is growing rapidly due to the rising demand for real-time data insights in different industries.

[harshtechsworld]

The Streaming Analytics Market Size encompasses solutions and services designed to process and analyze continuous streams of data in real-time. These solutions enable businesses to gain actionable insights, improve customer experiences, and enhance operational efficiency.

[emaanderson]

Streaming Analytics Market Scope, Opportunities Growth and Top Players Till 2027

Research Nester released a report titled “Streaming Analytics Market: Global Demand Analysis & Opportunity Outlook 2027” which delivers detailed overview of the global streaming analytics market in terms of market segmentation by component, by application, by deployment, by organization size, by vertical and by region.

Further, for the in-depth analysis, the report encompasses the industry growth drivers, restraints, supply and demand risk, market attractiveness, BPS analysis and Porter’s five force model.

The streaming analytics market is anticipated to grow at a significantly high CAGR of 35.6% during the forecast period of 2019-2027. This growth can be attributed to the increasing demand for real time data analysis in order to improve the time taken for decision making.

The market is segmented by component, by application, by deployment, by organization size, by vertical and by region. On the basis of deployment, the market is further bifurcated into cloud and on-premise, out of which, the cloud segment is estimated to lead the market growth on account of the ability to analyze big data in shorter period of time.This system provides the company with information on consumer experience as well as signals in case of data loss.

The increased usage of cloud based technology by several end user industries such as healthcare, telecommunication, IT, BFSI, education, retail and others is a major factor boosting the demand for streaming analytics solutions and thereby increasing the growth of the market. The cost effectiveness, fraud detection and ease of handling of these solutions are additional factors supporting the expansion of this market.

Request Free Sample onStreaming Analytics Market @ [url]https://www.researchnester.com/sample-request-705[/url]

The highest market share of streaming analytics is anticipated to be held by the region of North America. The rising requirement for the big data analysis and shift of major industries towards the adoption of internet of things (IoT) resulting in a higher demand for streaming analytics solutions is the major factor resulting in growth of the market in this region. The market in Asia-Pacific region is estimated to grow at a highest rate attributing to the expansion of small and medium sectors of various industries.

However, the security issues related to data forms a major restraint for the streaming analytics market. The frequent cyber-attacks on the cloud-based servers, where all the data is stored, further would slow down the growth of this market.

This report also provides the existing competitive scenario of some of the key players of the global streaming analytics marketwhich includes company profiling ofMicrosoft Corporation, Apache Software Foundation, Data Torrent, SAP SE, Oracle Corporation, Informatica Corporation, Software Ag, Tibco Software, Impetus Technologies, SQLstream. The profiling enfolds key information of the companies which encompasses business overview, products and services, key financials and recent news and developments.

On the whole, the report depicts detailed overview of the global streaming analytics market that will help industry consultants, equipment manufacturers, existing players searching for expansion opportunities, new players searching possibilities and other stakeholders to align their market centric strategies according to the ongoing and expected trends in the future.

[p2isonline]

Let's talk about creator growth but first: This is my actual channel performance. I could not imagine in my wildest dreams the amount of love and support as I have seen from all of you. We're on a track for exponential growth right now which is insane. Here's why (🧵⬇️)

No matter what platform you're on, you obviously want to see growth as a creator. There's going to be ups and downs, as seen on even my chart, but generally you wanna go upwards over time.

If you're only seeing downwards slopes over a few months, that's when you reevaluate.

That evaluation could be the type of content you make, when and where you're making it, how often you're posting, and even more granular like time of day, titling. Also be sure you're optimizing for the platform you're on via aspect ration, captioning, alt text, etc.

Also lets define something just in case this a new concept to you. Linear growth is a straight line of upwards growth where exponential means it's compounding over time for even higher growth in a shorter amount of time than a linear projection.

So what my data is telling me is people have recently been more engaged, wanting to tune in more, resulting in more followers, view times, and raids.

You only see this kind of growth not only when word is spreading about you but people also like what they see enough to follow.

Here's a couple things I've changed recently that might be the reason for this:

1. I've been posting A LOT more often and created pages on Tumblr and IG I didn't have before on top of all my other socials. This captures as many audiences as possible by simply cross posting the same content but with tweaks for each to talk to the specific audience.

2. I checked my analytics and noticed people really liked when I played RE so I've been going through the whole series. It's a common ground where I enjoy playing it and people really love watching it. This category type changes for everyone so check your specific analytics.

3. Being consistent and predictable of when things are going live. I stream 3 days a week at the 6 PM PT every week. If that changes or if we're doing something special, like the NPC stream, post about it as early as possible and be clear about why it's different.

4. I think this is the most underrated one but I am VERY active in the community. I watch, chat, interact, and engage with peers I both admire and adore and their communities see that. Become a regular, build your reputation, and people will notice and remember you. This has also allowed me to make great friendships, learn from behind the scenes, and build trust even more which makes people WANT to be around you. Being creative and innovative can only go so far. Showing people you actually care about them will return in tenfolds.

This is all just a long winded way to say THANK YOU. Thank you to anyone who has watched, chatted, lurked, shared, and raided. I have met the most incredible people in this streaming journey and I'm so excited to keep creating and growing with you all! 🙇‍♂️💞

[3liza]

tumblr live should not be this mysterious

the plug-n-play streaming package that Tumblr installed as "Tumblr Live" is a white label product from a company called Livebox (developed by the Meet Group, subsidary of Parshipmeet), who have a homepage riddled with spelling errors and purport to operate the dating apps Meet Me (formerly My Yearbook), Skout, Tagged, and Growlr, all of which appear to be identical except for Growlr, which is specifically for gay men. all of them are just dating apps with a livestreaming feature. i would venture a guess based on the architecture that Livebox is also powering Superlive, which is the only one of these I have any experience with. it's popular with camgirls outside of the USA, especially in countries where full nude camming is illegal.

i don't really understand what livestreaming has to do with dating apps and don't know anyone who uses these platforms for anything. i assume some of it is just sex work, some of it is just ad space, lots of data brokering, and judging by the performance issues the users complain about, possibly crypto mining(???).

looking through the app pages on the Play store shows the same reviews for every single one of them: app crashes constantly, bans are arbitrary, support is no help, the apps drain your phone battery suspiciously quickly, and there are about 20 bots for every real person profile. i dont know what the exact dates are because i cant see site analytics and dont know what the Live development schedule was, but it's interesting that the sudden increase in porn bot activity on tumblr seems to roughly overlap with the Tumblr Live development and implementation, at least from a tumblr user perspective.

i dont know where the strangers in the Tumblr Live bar are streaming from, in terms of what you would consider their "home network". im guessing, but it really looks to me like they are streaming on whatever familiar platform they've got an audience on, and then being split-streamed to Tumblr. i've been meaning to sit in one of the popular streams and check usernames of audiencemembers, because my guess is that most of the audience are not going to have accounts here either. many of the streamers ive checked do not have tumblr accounts. some of them have tumblr accounts, but most of those accounts appear perfunctory: only a few months old, completely impersonal reblogs from the trending tab (you know the type), instagram-type language and general aspirational influencer stuff, which absolutely does not exist on tumblr organically because this site does not have market share for sponsored products OR a userbase with disposable income, it's a waste of time for an instagram model type to post here.

i've tried to talk to these streamers once or twice about this stuff but didn't get anywhere, and it would be rude to press the issue. but that is probably the next step.

[queerly-autistic]

I've been thinking about potential pick-up of Our Flag Means Death by another streamer, and how it all might be tying in with the current BBC release, and I have some thoughts about what might be happening and what we can do to give the show the best chance of being picked up.

I think it's important to start by saying that all the whisperings that I heard over the past few months (including from some people who work at/with the BBC) pointed firmly towards a scheduled March release for Our Flag Means Death on the BBC. Needless to say, this means I was extremely surprised when they suddenly announced it was dropping at the beginning of February. I think it's also clear from everything I've seen that the BBC's marketing/social media plan for the release was not ready for February (there was no trailer, which was odd), which, again, really supports the idea that the show was initially schedule for a March release, not a February release.

I firmly believe the release was brought forward. The question is: why? Is it because they saw how much noise and press the show (and our campaign) was getting, and decided to try and capitalise on it? Or is there something else going on?

On top of that, we now have specific questions about Our Flag Means Death appearing on YouGov UK, including asking whether respondents would watch another series. This doesn't just happen. The charity I work for has commissioned YouGov polling (including some very recently) which I have been tangentially involved with, and so I know that this sort of polling is not easy work, and it's not cheap. Someone has put time AND money into commissioning this polling. This is significant. Someone is not only watching, but they are specifically watching the UK response to the show, and putting questions to the UK audience about it.

I have strong suspicions that a streamer (or several streamers) are interested in picking up the show, and are using the UK release as a live case study (Apple, Amazon and Netflix also have a presence in the UK, so we are a big target audience for them in a way we never were for Max). This could account for both the potential bringing forward of the BBC release (they didn't want to wait until March), and the YouGov polling that's going on (bear in mind, the YouGov questions were specifically as part of a wider survey about streaming services).

And this isn't just a passing interest: working with the BBC to bring forward the release, and investing time and money into YouGov polling? That's a strong interest. That's so interested they've already invested something into it.

Of course, I don't know anything for certain, so take everything with a pinch of salt (it's just a theory...a gay pirates theory...), but I think it's something to consider as a strong possibility.

So what does this mean for us?

It means we need to keep streaming on iPlayer. Watch it as many times as you can. Share it with your friends and family. If you're outside the UK, get yourself a VPN and join the party. Watch the live broadcasts on Monday nights (if you have iPlayer, you can stream the live broadcast - this is what I do because I don't have a TV). Keep tweeting about it (add the #OurFlagBBC hashtag to the existing hashtags we're using). Tag and email the UK media (including TV guides and radio shows) and ask them to talk about the show/our campaign. If you're tagging/emailing Apple, Amazon or Netflix, make sure you mention you're from the UK (and tag their UK specific social media accounts).

According to Parrot Analytics, the demand in the UK for the show is rising - let's keep adding to that!

You can also sign up to YouGov and rate the show (more instructions in the quote retweets of the tweet I linked to earlier), and keep answering questions about TV shows and streaming (and marking Our Flag Means Death as one of your interests) as a way to try and get them to give you the specific questions about the show (these start as a question about streaming and streaming services, which then turn into questions about OFMD, so if you get a survey like that, take it!).

It's also worth considering that if there's any validity to this, then there's a possibility that they might be waiting until after the show has finished airing in the UK (the finale is airing on 25th March) to crunch all the numbers together. This means that if we don't hear anything in the next few weeks, do not despair! We need to buckle in for a long fight, and to keep pushing the show and making noise over the next few weeks and months, especially around the BBC release.

This show is worth the fight. Let's get our damned men back!

[letsvishu]

Explosive Growth Ahead: Streaming Analytics Market to Reach $125.85B by 2029

The streaming analytics market is expected to grow from USD 29.53 billion in 2024 to USD 125.85 billion by 2029, at a CAGR of 33.6%. This rapid expansion is driven by the growing need to process real-time data and the surge in big data. As organizations seek to harness instant insights from continuous data streams, the demand for streaming analytics solutions continues to rise.

[summerlinenss]

out of curiosity, if Max doesn’t release its metrics, then what metrics are you actually using to make these statements about the show’s popularity? what does “it’s currently in the 99.7th percentile of the comedy genre, meaning it’s in higher demand than 99.7% of all comedy series in the u.s.” even mean? How are you measuring what’s “in demand” - by who? Where? It’s bold to claim that this show was wildly popular (despite the fact that I never hear about it outside of tumblr, tho that’s a personal anecdote) but cancelled just for being queer, so I would be really interested to know where you’re getting all these numbers from. Thanks!

hey anon! first of all i am so sorry for the delayed response. i started typing something up and then i got distracted with something else and totally forgot about this in my drafts.

sure, i have no problem citing sources. i probably should’ve linked some in my original post, that’s absolutely fair.

this ended up way longer than i planned so bear with me, but a quick overview of what i’ll be going over:

1) what are the stats/where did they come from?

2) how is the show so popular?

3) was it really cancelled for being queer?

(also just a disclaimer that this will contain spoilers for the show)

1) first, the numbers

you’re right that hbo doesn’t release metrics to the public. in fact, ceo casey bloys tried to justify the cancellation to the hollywood reporter by saying “the numbers weren’t there,” despite refusing to say what exactly those numbers were or where they came from.

however, there are websites dedicated to researching/analyzing the data of different media. one of those is parrot analytics, who focus on industry insights like audience demand, competitive analysis, and content valuations. they’re trusted as a reliable source by forbes, the new york times, reuters, the wall street journal, and more.

this is what we can learn from them about our flag means death from a basic google search (note that all of this data is relevant to the last 30 days as of january 26 2024):

audience demand for our flag means death is now 33.6x greater than the average tv series in the united states. as explained in the “about demand distribution” section, this means it’s one of only 0.2% of all u.s. shows to fall in the “exceptional” performance range compared to the “average” demand benchmark of 64.1%.

the change in demand for ofmd in the u.s. has increased by 7.5% compared to the average tv series.

ofmd now actually ranks at the 99.8th percentile in the comedy genre in the u.s. i’m not a math person, but in basic terms, this is like a scale of measuring and comparing performances to create an average score. essentially, ofmd is performing at the very top of all comedy series in the u.s.

ofmd has 100% home market travelability. as it says above, the market of origin is always 100%, so in fairness i included the graph of international markets for comparison. some of these aren't super high, however (as explained by parrot analytics themselves) one of the key issues with the international market is accessibility to content, which has been an ongoing struggle for international fans. many people (i guess fittingly) have resorted to pirating ofmd because they don’t have access to max or affiliate streaming services in their country.

there are more stats i could have and wanted to go more in-depth into but it would make this even longer than it already is, so i’ll just leave some links you can check out if you’re interested and move on:

• comparison of ofmd's success to shows like ted lasso, euphoria, and peacemaker

• ofmd's placement as #1 most in-demand breakout series in the u.s. for 8 weeks

• ofmd's impressive 94% critics score and 95% audience score on rotten tomatoes

• how ofmd evolved from sleeper hit to a flagship series at max

• a list of ofmd's past and present award nominations/wins

• praise and recognition from news/entertainment sites: the atlantic (2022); the new york times (2023); tv guide (2023); vulture (2023); forbes (2023); the los angeles times (2022); vanity fair (2023)

2) so why haven’t you (or others) really heard of the show outside of tumblr despite all this success? likely because max did a terrible job marketing it.

ofmd first aired on hbo max (pre-merger before it was “max”) in march 2022. the entire season aired over one month, every thursday at 12am pst. season 2 followed a similar release schedule in october 2023.

season 1’s marketing was almost non-existent, pretty much relying on taika waititi’s name being attached. there was one teaser and one full-length trailer, as well as a few clips on youtube of taika and rhys darby answering pirate-themed trivia, all painting the show as a “silly pirate workplace/buddy comedy.” but hbo max didn’t put any real effort in because they didn’t care. david zaslav and the other higher-ups had no faith in the show and expected it to fail.

most people weren’t aware it was actually a romance due to the poor marketing, and although there were many romantically charged scenes between them, many were still wary to believe it wasn’t queerbaiting until ed & stede confessed their feelings and kissed.

showrunner david jenkins has said in interviews that he had no idea how deeply queerbaiting had hurt audiences and impacted their ability to trust what’s on screen without feeling like they’re being ridiculed, despite the fact that he was calling it a love story the whole time. it wasn’t until people realized they weren’t being queerbaited and that it was a funny, sincere show with a compelling plot that word-of-mouth began to spread. by the time the season 1 finale aired, there was a decent-sized fandom that continued to grow as it received more praise.

it was a fight to even get the show renewed for season 2, and david jenkins and the cast have majorly credited that renewal to the unexpected and massive fan response to the show, which basically forced hbo’s hand.

max didn’t bother trying to properly promote the series until season 2, when they begrudgingly accepted that it was one of their most profitable and successful shows. ofmd had huge billboards in times square, downtown los angeles, and on the side of hbo headquarters. they started accurately marketing the show as not just a workplace comedy at sea, but a heartfelt romcom. max began selling long-demanded merch (which became best sellers) and spent money on an FYC campaign.

i will emphasize, whether they liked it or not, they knew ofmd was their new moneymaker (especially with the recent end of succession, which was obviously a cash cow for hbo).

photo credit: @/bookishtheo

3) now if it was that successful, was it really cancelled just for being queer?

i mean, i can’t say that definitively. no one can. there are several potential factors at play that we may never know, and there have been a lot of rumours and speculation (many of which i don’t feel comfortable discussing in case they aren’t true) since the cancellation.

but do i believe the fact that it’s a queer romcom was one of those factors, especially since max has a history of cancelling and scrapping its most diverse projects? absolutely.

first and foremost, i can’t stress enough that this isn’t just a show with a few characters thrown in for token representation. ofmd is built on a diverse, intersectional cast and narratives, including:

• lgbtq+ representation: 5 main couples are explicitly queer (including mlm, wlw, nblm, and nblw relationships). multiple characters are implied to be poly, and there’s a polycule forming in season 2 that was hinted to be developed more in season 3. beyond relationships, it’s confirmed that (similarly to the way wwdits depicts all vampires as being pansexual) all of the pirates are somewhere on the queer spectrum.

• bipoc representation: the majority of the main cast are people of colour. this includes david fane, joel fry, leslie jones, samson kayo, vico ortiz, anapela polataivao, madeleine sami, samba schutte, ruibo qian, and taika waititi, as well as many guest actors (like rachel house, simone kessell, and maaka pohatu) and extras.

• disability representation: multiple characters have physical disabilities, most notably amputated/prosthetic limbs and visual impairment. a lot (actually most) of the characters also deal with mental health issues, particularly coping with severe trauma and suicidal ideation/behaviour.

• the show has been praised for addressing difficult and serious themes like toxic masculinity, colonialism, and self-discovery, all while still managing to be a witty comedy and not come across as “preachy.”

• the diversity also extends off-screen, with a team of directors, writers, and additional crew comprised of numerous bipoc, women, queer people, and trans/non-binary people.

my point isn’t just the quantity of representation, but the quality. they take great care and respect into every marginalized group depicted on-screen. the actors would often be consulted about their characters’ costumes, hair, tattoos, and the kind of language they use. it’s not a world where discrimination magically doesn’t exist, they just have zero tolerance for it. if a character does something homophobic or racist, you can guarantee they’ll quickly (and often violently) be punished.

so okay, sure, it’s got great representation. what does that have to do max cancelling it?

because they’ve been interfering with production from the start.

i already mentioned the marketing issues so i won’t get into that. it was also revealed in interviews with david jenkins after season 2 that hbo cut their budget by 40%, which is why they had to do everything they could to save money. this included letting go of some of the original cast (and even still having episodes where some of them don’t appear at all) and moving the entire production to AoNZ. the budget cuts also meant two less episodes, so they had to rush to fit an entire season’s worth of plot into eight half-hour long episodes.

but one of the biggest frustrations is hbo’s (alleged) censorship of the show. samba schutte revealed that the entire plot of episode 2x06 was completely different in the original script. before it was rewritten as “calypso’s birthday,” the episode took place during lucius & pete’s wedding and focused on the crew getting sick of the sexual tension between ed & stede and trying to get them to hook up (this aligned with lucius & pete getting engaged and ed & stede deciding to take things slow in the previous episode).

vico ortiz and writer jes tom have also commented that many scenes between jim, oluwande, and archie establishing them as a polycule were cut, including one of the three of them emerging from a bedroom in their underwear. jes has mentioned other elements of season 2 that had to be cut out or rewritten, like the implication of other poly dynamics between the crew and more sexually explicit scenarios and jokes.

considering that ofmd is an extremely sex-positive show that isn’t afraid to be raunchy or taboo, it’s clear that either higher-ups at hbo forced them to cut these things out or they had no choice but to cut them out due to tight budget/time restraints.

in addition to this, a recent article citing an “anonymous insider” has alleged that hbo was uncomfortable with and was unsure how to market the “shock violence” in the show (the same network that aired game of thrones), which david jenkins outright called out as being bullshit. ofmd is rated TV-MA and the posters and trailers all show the audience that it contains violent content. there is literally nothing more graphic in ofmd than any other pirate show — it’s probably a lot tamer than most of them, actually.

violence on the show is most frequently used in a comedic context, in the sense that it’s not meant to be seen as scary or taken seriously. the few instances of serious graphic imagery on the show are meant to invoke a mood shift, like ed’s transformation into the kraken or ned low’s murder. it should also be noted that some of the most graphic deaths are reserved for bigots, like ed snapping the neck of a colonizer who was ridiculing stede’s love letter.

it’s also most often used in a sexual context — not sexual violence, but violence as a sexual metaphor. more specifically the act of stabbing as a metaphor for penetration, as seen with both ed & stede and anne & mary. bearing all this in mind, it seems like the real issue here isn’t executives struggling to market explicit violence to a mainstream audience, but rather explicit gay content.

as much as we joke and affectionately call it the “gay pirate show,” ofmd has always been nothing more than an opportunity for rainbow capitalism for hbo (e.g. the fact that they waited three months to announce season 2 just so they could do it on the first day of pride month). like other cancelled queer media, ofmd was a way for hbo executives to show how “inclusive” and “accepting” they are when it was convenient (aka profitable) for them, but they never actually respected the show or us as a community.

it’s impossible to be certain of what the exact reasoning for cancellation was, especially when they won’t give us a clear answer themselves. and maybe it had nothing to do with ofmd being a queer romcom at all. maybe that’s all a horrible coincidence. but for hbo/max to axe a critically acclaimed and beautifully inclusive show that’s successful by every metric, with an extremely devoted fanbase, especially after casey bloys just had the nerve to ask “gay twitter” to hype up the gilded age? it doesn’t exactly put them in the best light regardless.

in summary, i’ll leave you with this editorial, which details how the campaign to save ofmd isn’t just about one show, but a fight to save the future of all queer art.

[emaanderson]

Streaming Analytics Market Scope, Opportunities with Strategic Growth and Top Players Till 2027

Research Nester released a report titled “Streaming Analytics Market: Global Demand Analysis & Opportunity Outlook 2027” which delivers detailed overview of the global streaming analytics market in terms of market segmentation by component, by application, by deployment, by organization size, by vertical and by region.

Further, for the in-depth analysis, the report encompasses the industry growth drivers, restraints, supply and demand risk, market attractiveness, BPS analysis and Porter’s five force model.

The streaming analytics market is anticipated to grow at a significantly high CAGR of 35.6% during the forecast period of 2019-2027. This growth can be attributed to the increasing demand for real time data analysis in order to improve the time taken for decision making.

The market is segmented by component, by application, by deployment, by organization size, by vertical and by region. On the basis of deployment, the market is further bifurcated into cloud and on-premise, out of which, the cloud segment is estimated to lead the market growth on account of the ability to analyze big data in shorter period of time.This system provides the company with information on consumer experience as well as signals in case of data loss.

The increased usage of cloud based technology by several end user industries such as healthcare, telecommunication, IT, BFSI, education, retail and others is a major factor boosting the demand for streaming analytics solutions and thereby increasing the growth of the market. The cost effectiveness, fraud detection and ease of handling of these solutions are additional factors supporting the expansion of this market.

Request Free Sample onStreaming Analytics Market @ https://www.researchnester.com/sample-request-705

The highest market share of streaming analytics is anticipated to be held by the region of North America. The rising requirement for the big data analysis and shift of major industries towards the adoption of internet of things (IoT) resulting in a higher demand for streaming analytics solutions is the major factor resulting in growth of the market in this region. The market in Asia-Pacific region is estimated to grow at a highest rate attributing to the expansion of small and medium sectors of various industries.

However, the security issues related to data forms a major restraint for the streaming analytics market. The frequent cyber-attacks on the cloud-based servers, where all the data is stored, further would slow down the growth of this market.

This report also provides the existing competitive scenario of some of the key players of the global streaming analytics marketwhich includes company profiling ofMicrosoft Corporation, Apache Software Foundation, Data Torrent, SAP SE, Oracle Corporation, Informatica Corporation, Software Ag, Tibco Software, Impetus Technologies, SQLstream. The profiling enfolds key information of the companies which encompasses business overview, products and services, key financials and recent news and developments.

On the whole, the report depicts detailed overview of the global streaming analytics market that will help industry consultants, equipment manufacturers, existing players searching for expansion opportunities, new players searching possibilities and other stakeholders to align their market centric strategies according to the ongoing and expected trends in the future.

[reallygoodplants]

What the recent Parrot Analytics numbers mean

Parrot Analytics wants to measure "Audience Demand". This is not simple streaming numbers, but it is an indicator made up from hundreds of weighted measurements, all smooshed together: streaming numbers, but also fan and critics ratings, download activities, wiki pages, social media buzz - any kind of dataset they can get their hands on.

The metrics are weighted according to how much effort/time they demand - active consumption and creative participation in content are given a lot of weight, merely clicking a like-button or subscribing to updates comparatively less.

Why do they do all this? Because they want to offer a "globally standardized measurement of audience demand for all markets", making it possible to compare content across platforms. Viewership ratings are dependent on many variables and therefore difficult to interpret out of context. PA promises to "value a piece of content or IP with a precise $ value figure for each title, service and market".

In other words, they try to translate viewership ratings, online chatter, revewies etc. into a number that indicates the net worth of a given show. Having this measurement available to us is incredibly valuable, since this is the very thing execs are interested in.

Takeaways:

Since streaming numbers are an important part of the indicator, it tells us that OFMD must have had good viewership ratings. We don't know how exactly it compares to other shows, but we can use it to refute claims that audiences didn't catch on to the show. Clearly they did.

All our noise matters! Blog posts, reddit discussion threads, Wikipedia engagement, TikToks, search engine activities - it all feeds into this metric! Keep doing it and make sure you keep using the full title Our Flag Means Death as often as possible because chances are PA (and similar analytics sites) will measure it.

Keep watching if you can! Doesn't matter which platform - if you don't want to subscribe to Max any longer, watch it on iPlayer, buy it from Prime Video, whatever works for you. PA even measures P2P downloads, just saying.

Our Flag Means Death is worth a lot of $$$. It has the potential to attract, engage and retain subscribers. That's what every streaming network wants. Our clowning is not baseless. Shout these numbers from the rooftops!

Sources:

Learn the methodology behind demand measurement

How Parrot Analytics Measures The Value of Content in the Streaming Era

Disclaimer: I am not in any way an expert on any of this. I just read around on Parrot Analytic's website and I have some experience analysing data myself. If anyone has corrections or additional info, please do share!

[monstersw1thv1bes]

Kind of bold to offer Watcher's target demographic a new streaming service when a few of the subjects said target demographic is increasingly upset about right now are the current cost of living, inflation, products not being made to last and paying for things / subscriptions they will never own.

Somebody didn't look at their Google Analytics before making a huge decision about the future of the company. Possibly whoever is responsible for their marketing and audience retention majorly fucked up.

@wearewatcher , my company actually published a helpful video on how GA4 works if you want me to send you the link. Clearly when they ended support for UA you guys lost track of how to use Analytics at all.