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TOLEDO, Spain In 2022, 32 US titles ranked in the top 100 of the world’s most popular new drama TV shows released in 2022.
30 South Korean series have reached the same Top 100, according to a study by Ampere Analysis, a consultancy based in London and Los Angeles, presented on Tuesday at Conecta Fiction in Spain.
The Amperes Popularity Score is a proprietary metric based not on viewers but on tracking how much Internet search a title receives each month, as well as other metrics, Amperes Alice Thorpe clarified during the presentation.
The fandom base of Korean series and Japanese anime is concentrated in the demographics of teenagers and YA, who are also the most avid Internet users.
Demographic skew can certainly be a factor, yes. The existence of the fandom around these titles certainly helps. However, we not only factor in search volume/trending topics, but we also factor in page views on key internet sources like Wikipedia and IMDb, for example, Thorpe said.Variety.
Global popularity scores are cumulative across territories, so the more individual markets in which a title generates high levels of engagement, the better its chance of appearing in the global top 100, he added.
His main point, however, was that the shift in focus to still-growing markets will only accelerate the globalization of popular scripted TV.
The focus on new shows means many of the currently most popular shows in the world weren’t counted for the count, as they dropped returning seasons in 2022. Five of the top 10 English-language TV shows on Netflix from 12 to June 18th were sequels, for example.
While South Korea actually releases a much higher percentage of new shows, about 360 new US-produced scripted shows were released last year compared to about 140 produced in South Korea, so the territory really continues to give the maximum when it comes to the overall impact of your content! said Thorpe.
The figures serve to lend further statistical support to other statistics confirming a surge in Korean TV worldwide.
In an off week of June 12-18, Koreas Bloodhounds was heralded as the most exciting and impressive Korean Netflix Original since Late 2021 gold streaming platforms DP, Squid Game and Hellbound scored on Netflix 65.9 million hours watched, more than Netflix. the best English-language program that same week, Never Have I Ever, Season 4.
Three more aspects of the ampere analysis keynote:
Business growth slows down
When Alice Thorpe of Ampere Analysis took the stage to deliver her keynote speech at Conecta Fiction in Toledo on Tuesday, she became the first analyst in Conecta Fiction’s history to do so against a backdrop of slowing business fundamentals or outright recession.
Since 2013, four years before the launch of the Conecta fiction, global content spending has experienced 10 or 11 years of steady growth, interrupted only by COVID-19 in 2020. It decreased in North America (from 68.4 billion dollars in 2022 to about $61.9 billion this year) and Western Europe ($26.6 billion/$26.2 billion). The only region where spending increased was Asia-Pacific (APAC), up 3% year-on-year from $16.4 billion to $16.9 billion.
AVOD & FAST: The explosion
Yet growth is there, despite a generally pessimistic scenario. Orders of the AVOD and FAST series grew 417% in the United States, from 12 in the second half of 2021 to 62 in the same period of 2022, Thorpe noted in Toledo. 76% of Spanish-language content in Content Hours on US platforms aired on SVOD services in April 2020. Three years later, nearly half, 47%, now air on AVOD systems. FAST’s audience is growing in Latin America, particularly among Spanish speakers. 32% of US Internet users have used a FAST player service in the last month. Argentina is now just far behind at 23%.
A growth factor: the VOD platforms of European broadcasters
One of the drivers of the deal at last month’s Cannes and Annecy film festivals was the takeoff of European broadcasters’ VOD platforms as priority services or a significant part of their business model. The results can be extraordinary. Documentary content produced in the big 5 European markets available outside the country of production on broadcasters’ VOD (BVOD) services increased by 423% from 2020 to 2022 compared to competing hours broadcast on linear services, an increase of 25%. The content of AVOD documents has skyrocketed by 91% in two years. Document content has even increased by 38% in programming hours on SVOD systems. Nor is everything a recession.
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Image Source : variety.com