#parrot analytics

[aniketsanimationblog]

In fact, according to Parrot Analytics, Star Trek: Prodigy's Demand has grown by 38.4% and 18.8x In-demand than average TV Series in the US alone in last 30 Days, after the Cancellation news broke out!! Keep the Support Growing until we all Save Star Trek: Prodigy!!

@commandermeg @sunnyvalentine @startrekprodigyfan @aaronwaltke

[vonter-voman]

@reallyndacarter is in demand!

TV’s ‘Wonder Woman’ Star Lynda Carter Tops Most Popular Actresses Over 70 List

"Several actresses who have crossed the septuagenarian threshold have garnered exceptional demand within the first five months of 2023, a feat achieved by less than 0.04% of talent in the American market. Topping this list is the most popular TV Wonder Woman and Miss World USA 1972, Lynda Carter. The surge in popularity of the “Wonder Woman” franchise’s recent renditions has also played a crucial role in renewing interest in her.

Following Carter there’s Morgan Fairchild, renowned for her portrayal of poised, determined women in soap operas like “Dallas” (1978); Cassandra Peterson, best recognized as Elvira from sketch comedies and horror films; and Jane Fonda, who’s also known for her activism. These three actresses all boasted demand levels over 38 times the average during this period."

[arkvark2]

Because of Goob’s overreactions to their Anon’s Parrot Analytic mention, I went to take a look.  No wonder Goob is in a terror panic, not only is demand for Walker more than The Winchesters, it’s growing for Walker while it’s decreasing for TW.  Which is of no surprise to any of us.

[whengeorgiawentblue]

Holy fuck, The Winchesters jumped to 20x the difference from average market demand in the US, according to Parrot Analytics:

Meanwhile, not to be petty but look at Walker's demand:

TW and Walker are doing similarly in live view and +3 and +7, so this means TW has a stunning digital demand in the CW app, far above Walker.

And this only in the US, not to mention the international demand (both shows are available in HBO Max for foreign markets):

[helmstone]

ONE PIECE demand rises according to Parrot Analytics

ONE PIECE demand rises according to Parrot Analytics

While we wait for Netflix’ own figures for the first full week of release of ONE PIECE (due later today), the ever insightful Parrot Analytics has measured a rise in demand for the show, boding well for audience figures. According to their piece on the latest breakout shows: …Netflix’s One Piece has shaped itself into the streamer’s most successful anime live adaptation yet. Last week, just a…

[laf-outloud]

I feel like many sites are trying to be the Nielsen, and are failing because they can’t differentiate between “demand” and “negative attention.” I noticed that Parrot Analytics and FlixPatrol try but they both feel easily gamed. Where as Nielsen, you either watch or not.

Edit: Sorry, anon. I reread your ask and I've got to reword my answer because I must have been asleep when I read it the first time. LOL!

But yes, I imagine it's very hard to differentiate between positive and negative attention. I would imagine the data is pulled from algorithms that basically use keyword searches to determine how often something is being discussed. And because GK is SO bad, and it's attracted the attention of comic fans (one of the largest fandoms out there), of course there are going to be a lot of people talking about it.

Unfortunately, talk does not equal money in the advertiser's pockets, which is where actual viewers come into play. And since Nielsen, with all of it's faults, tracks the people watching (including those watching the ads), those numbers will continue to be a strong measure of a shows' success.

[magnoliamyrrh]

i also love how this whole generation discusses enthusiastic consent and consent which isnt coerced at all and etc etc etc but they cant understand how consent cant be bought, especially when were talking abt +95% of cases of harsh poverty related prostitution. like. what the fuck is not clicking (why am i even asking whats not clicking; its that theyre literally so fucking afraid to think for themselves and to even question the dominant narratives theive been parroting that their entire brains just shut down ((because even questioning these things already makes you the worst person ever in the groups they hang out in)) just repete the mantra babes! sex work is work! just repete the mantra, mindlessly! you say something enough times and it becomes true!)

[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!

[ofmdfanpage]

Parrot Analytics released Q4 data for HBO/Max and once again we are reminded that #TheNumbersWereThere.

Chart edit by SchnellaBella on Twitter.

[thowawayuntilfurthernotice]

Just a reminder that if anyone tries to claim that a show is successful because Parrot Analytics said that there was a high “demand” for said show, then that person is automatically full of shit.

[raamitsu]

[From GWS.com] JUJUTSU KAISEN is officially the world’s most in-demand animated TV show, taking the title from Attack on Titan which held it since 2020.

According to data-science firm Parrot Analytics, JUJUTSU KAISEN has a global demand rating 71.2 times greater than that of the average TV show.

Parrot Analytics calculates ‘demand’ based on how much attention, engagement, desire, and viewership is expressed by consumers for content.

Their system captures billions of new data points each day, including video consumption (streaming and downloads), social media engagement (hashtags, likes, shares), and research actions (reading about a show on IMDb, for example).

Actions which require more effort on the consumer’s part, such as watching or downloading a show, are weighed more heavily when calculating demand.

Based on Gege Akutami's manga series of the same name, JUJUTSU KAISEN follows the story of high school student Yuji Itadori, who joins a group of Jujutsu Sorcerers to defeat a Curse named Sukuna, of whom Yuji becomes the host.

The anime fought off close competitors One Piece and Attack on Titan to claim the top spot in 2023’s rankings.

One Piece enjoyed a boost in interest due to the release of Netflix’s live-action adaptation, which brought in new fans to the series as well as inspired older fans to rewatch earlier episodes.

Attack on Titan, which concluded its final season in November, remained immensely popular but narrowly lost out this time.

Side note: Congratulations to Akutami sensei and MAPPA animators who made this possible 👏🏼

[lostcauses-noregrets]

By Rafael Motamayor, New York Times, Nov. 5, 2023

On Saturday, the final episode of the anime adaptation of Hajime Isayama’s “Attack on Titan” premiered on Crunchyroll and Hulu, ending an epic tale that started back in 2013.

Like the manga, which ran from 2009 to 2021, the anime was an instant hit, becoming one of the defining shows of the modern anime era, with spinoffs, live-action and video game adaptations, and even a comic book crossover with Marvel’s “Spider-Man” and “Avengers” titles.

Since the fourth and final season started airing in 2020, “Attack on Titan” has been one of the most popular shows on the internet — episodes have routinely trended on social media, streaming servers have occasionally crashed, the opening theme song became a rare anime song to hit the U.S. Billboard charts. Parrot Analytics said it was the most “in-demand” show in the world in 2021, a metric based on analysis of streaming, social media, search and other online behaviors. The manga has continued to be popular as well, selling over 120 million copies worldwide, and several of the published volumes have charted on the New York Times graphic novels and manga best-seller list.

What started as a thrilling yet relatively simple tale of a young boy seeking revenge against the giant humanoid monsters that ate his mother quickly evolved into a thought-provoking war epic. The tonal shift in “Attack on Titan” also came with one of the biggest heel-turns in modern anime, with the protagonist, Eren Jaeger, devolving into a radicalized monster threatening worldwide genocide.

Since the manga ended in 2021, there has been plenty of speculation and debate over Eren’s antagonistic turn and what the story’s ending means. Ahead of the release of the final episode, the manga creator Hajime Isayama, speaking through an interpreter, David Higbee, talks about the restrictive nature of writing and the story’s dark ending. These are edited excerpts from the interview.

The manga ended a couple of years ago, and the anime is just finishing now. How do you feel about the story coming to an end?

For this anime to be made and for that to go beyond the borders of Japan and to reach a worldwide audience is something that’s been a very happy occurrence for me. In a sense, “Attack on Titan” has connected me to the world, and that’s something that I’m very glad happened.

How much of the ending from the manga did you have in mind when you first began writing “Attack on Titan”? And how much did it change along the way?

That was pretty much there from the beginning, the story that starts with the victim who then goes through this story and becomes the aggressor. That is something I had in mind right from the get-go. Along the way, certain aspects of the story didn’t go as expected, and I adapted and fleshed out certain aspects. But I would say the ending of the story didn’t change much

There’s a much-talked-about scene where Armin, who is struggling with Eren’s turn into a mass murderer, seems to thank him for his actions. Can you talk about the meaning behind that conversation?

My thinking there wasn’t really that Armin was trying to push Eren away for the sake of justice or whatnot. It was more that he wanted to, in a sense, take joint responsibility. He wanted to become an accomplice. In order to become an accomplice, Armin had to make sure that he used very strong wording so that he could take those sins upon himself. And so that was the intent behind it.

You have a scene where Eren apologizes to a kid for the carnage he’s going to commit and says he was disappointed in the world he saw beyond the walls. What does that say about his motivation?

I think that refers to the fact that Eren was dreaming of going to this world outside of the walls where there was nobody and there was nothing. There was an excitement about this world that was just empty, a clean slate. I don’t really know whether that’s a good or a bad thing, and I don’t really know why that was the ideal that I set up for Eren as a part of this story. But what I can say is that, when he does get across the wall at that point, he says he sees that the world is really not that different from what’s within the walls in the world that he already knows. I believe that’s probably the disappointment that I’m referring to in that specific scene.

Eren says in the final episode of the anime that he had no choice but to follow the future that he saw, that he was powerless against the powers of the Founding Titan. Armin even asks if he’s really free. Was he telling the truth or do you see this as him telling an excuse?

So the truth is the situation with Eren actually overlaps in a certain sense with my own story with this manga. When I first started this series, I was worried that it would probably be canceled. It was a work that no one knew about. But I had already started the story with the ending in mind. And the story ended up being read and watched by an incredible number of people, and it led to me being given a huge power that I didn’t quite feel comfortable with.

It would have been nice if I could have changed the ending. Writing manga is supposed to be freeing. But if I was completely free, then I should have been able to change the ending. I could have changed it and said I wanted to go in a different direction. But the fact is that I was tied down to what I had originally envisioned when I was young. And so, manga became a very restrictive art form for me, similar to how the massive powers that Eren acquired ended up restricting him.

You have been involved in the anime production for a little while, supervising the adaptation’s storyboards, and have been known for asking for changes to the story in the adaptation. Did you personally ask for anything for the final episode?

Yes. Absolutely. I checked the script, but the main thing was the storyboards. There were different things I suggested. When it comes down to it, it’s really the role of the production to make those decisions. But I wanted to at least give my input so that they could take those into account when they were making the final decisions.

The manga ends with you showing the future of Paradis and sort of the cycle of war continuing. Is there no end to the conflict and the cycle you present in the story?

I guess there could have been an ending where it was a happy ending and the war ended and everything was fine and dandy. I guess that could have been possible. At the same time, the end of fighting and the end of contention itself kind of seems hokey. It kind of seems like it’s not even believable. It’s just not plausible in the world we’re living in right now. And so, sadly, I had to give up on that kind of happy ending.

[New York Times, 5 November 2023]

[gentlebeardsbarngrill]

02/13/2024 Daily OFMD Recap

TLDR; Kudoboard; CaseyBloys/David Zaslav Shenanigans; Cast&CrewSightings; Samba Schutte; Con O'Neill; Ruibo Qian; Wendy Andersen; In Person Events; WatchParties; LubeAsACrew; People of Earth; Articles; Netflix WooAsACrew; Love Notes;

== Kudoboard Last Chance ==

Throwing this up top so you don't forget-- anyone who wants to add anything to the Kudoboard please message me tonight so I can get you the password to post. I'll be up for the next two hours so we've still got time.

== Casey Bloys ==

Whelp, Casey Bloys stepped in it again by posting an article by The Wrap about how True Detective was the most watched season on max. As you can imagine, a good chunk of the crew started calling BS on that, what with the Parrot Analytics stats from yesterday. Well, some of our favorite hashtags started trending this morning... #OhBloysHeMad and #TheNumbersWereThere

And in case you needed to see some more data that Bloys was full of crap--- Thank you to our dear friend @quirkysubject for pulling in Rotten Tomatoes Average Tomato-meter Ranking in with the Parrot Analytics Data in this awesome chart!

Not terribly long after, apparently the comments on The Wrap article really started to irritate ol Casey boy because he turned off comments on the post.

BUUUUUUT Our dear crewmate @spanishjenkies was kind enough to save a video before hand! So there's evidence of the trolling. Visit their twitter thread here.

Some of the crew has decided to go a bit further with the glorious Passive Aggression and started sending Casey Bloys gifts! @single_cat_mom sent him a Casio Compact Calculator to help him with his future numbers!

Annnnd our crewmate @ofmooshd got a cockroach at the zoo named after ol Casey Bloys!

Truly legendary levels of Polite Menacing today, m'dears! What a day!

In other WB/Max related news:

Did you know there's a petition to get this ... person... fired? If you wanted to sign that, here you go: Only if you wanted to of course.

== Cast & Crew Sightings ==

= Samba BTS =

Samba went hog wild today with the BTS, some lovely folks on tumblr posted the videos. (THANK YOU SAMBA!)

Just a couple of highlights, please visit this post to see all the pictures. You can also visit Samba's IG.

BTS Video 1: Cast Reading - ty @fuckyeahworldoftaika,

BTS Video 2: Con & Rhys - @fuckyeahizzyhands

BTS Video 3: Izzy Flipping the Bird - @fuckyeahizzyhands

= Con O' Neill =

As usual, our favourite Unicorn, Con O'Neill is over here supporting the hell out of the saveOFMD effort and sharing the Parrot Analytics results.

= Ruibo Qian =

Our Venerable Pirate Queen Ruibo Qian is back on Instagram with more inspiring words for us.

= Wendy Andresen for #TaikaTuesday =

So I know that normally #TaikaTuesday is a thirst factory (and don't worry it still was) but I just had to make a shoutout to our absolute gem Wendy Andresen (one of our Red Flag crew) for posting a picture of her pup Peanut cosplaying as Taika for #TaikaTuesday.

For those of you unfamiliar with the reference shirt:

She was kind enough to post more too when asked!

I adore how much she supports the #SaveOFMD effort and she is always a delight to chat with. Sending all the love her way! <3

== In-Person Events! ==

Today at the Our Flag Means Death Matelotage Processional several of our crewmates came out in costume with signs and showed support at the WB Gates! Thanks to all the crew who attended! Thank you @aimeekitty for sharing these pictures! Their IG and Twitter

== Watch Parties ==

= Lube As A Crew =

It's baaaaack! Valentine's Day: 4PM PST, 8 PM ET, 12:00 AM GMT S1 Ep 8, 9 10 with @astroglideofficial

If you've bought Astroglide recently please consider doing some reviews! They would love the support. You can @Astroglide and use #ReviewAsACrew

As you can imagine, the memes are back too <3

== Feb 15: Uncle Season 1 ==

This is mainly for UK folks but non-uk folks are welcome to vpn in as well! Here's an article on how to join via vpn!

Thurs 02/15/2024 + Friday 02/15/2024 - GMT - 8 PM, ET - 3 PM, PST - 12pm

WatchParty Hashtags:

#ForTheNewUncle

#SaveOFMD

#AdoptOurCrew

== People Of Earth S1 Ep 5, 6 ==

#PiratesOfEarth has been going great these last couple days! Thank you again to @iamadequate1 for organising it! Next episode 5 and 6 tomorrow the 14th! at 10PM GMT / 5PM EST / 4PM CST / 2 PM PST /

== Netflix #WooAsACrew Video ==

More love for the streaming platforms! 🌹💕🐙 Vocals: @sgtbeatlespotter Video: @giulianaazr on Twitter

== Updated #WooAsACrew Calendar! ==

Looks like tomorrow the goal is to WOO FX! Twitter / Instagram / Tumblr Tomorrow is also a great day to be creative! Make some cakes! Or flowers, or drawings! Anything! Let's see some sweet stuff!

== Articles ==

Have we seen this one? I can't remember anymore, some more Parrot Analytics from January. Ty to @drcfxtina on discord for sharing!

== Uk Crew Updates ==

Thank you to @queerly-autistic for capturing this! Guess who's front and center on the top recommendations? You guessed it! OFMD!

== Love Notes ==

Hey there lovelies!! Guess what time it is? I've had too much caffeine and I've taken my adhd meds on time so I'm Here, Queer, and ready to Cheer!

Look at everything you all did today! Do you see this list? And that's just a minuscule coverage of the pure polite chaos that ensued! I literally cannot add any more pictures because just so much has happened. We are 36 days in the Gravy Basket and you all are just ramping things up!

The tenacity, and creativity of this crew never ceases to amaze me!

There are more fundraisers in the works... (I'll post more when I know more) there's a slew of events, watch parties, and pure camaraderie everywhere! Everyone's making amazing memes, and artwork and fics! Seriously, you all should be proud of yourselves!

Not to mention, some of the most important things of all-- I am seeing SO MUCH SELF CARE. You are reaching out to the crew for support, you're taking days off, you're having fun and being creative for you... getting back to pet projects and doing things you enjoy!

You all are doing SO WELL. You are kicking ass, don't forget that! We'll have our down days, but no matter what you are making waves all over the place, bringing positive things to this world! As a side note, I wanted to mention, I know tomorrow can be a tough day for a lot of people. It can be lonely, or bring up good or bad memories. Please be sure to reach out to your crew for love if you're struggling. We love you, and even if it's a platonic love, it's overflowing here for you. You are wonderful, and we want to send you all the love we can.

That being said, I'm gonna end tonight with another note from @thelatestkate that I needed to hear a lot recently so I'm gonna share it with you too <3

You got this! Sending so much love m'dears!

== Daily Darby / Tonight's Taika ==

These were the two gifs that murdered me today so I hope you enjoy. These goofy buggers always make my day.

Rhys Src: @bizarrelittlemew Taika Src: @ofmd-ann

[helmstone]

Why streamers need reruns — Parrot Analytics explains

The latest Parrot Perspective examines the question Can Streamers Survive Without Reruns? My strong feeling for a while has been unless you hop around sub to sub on a short-term basis, you want to get value from your investment over time. You may take up a service for a specific reason, but why do you stay? The example for me is Disney+ — while I started by checking out the Marvel and Star Wars…

[laf-outloud]

You are making a mistake in the way you measure a show's audience: you only take into account live, +3 and +7, but forget digitals (viewership in the cw app). Parrot Analytics includes all these parameters: TW has an audience demand of 20, Windy, 13.1, and Walker 11 (so Windy, actually, has a higher viewership than Walker). Also audience demand has risen +50% for TW and 52% for Windy, while Walker dropped almost -6%. Not to mention Walker's travelability is much lower than TW's or Windy's

Someone's been spending too much time on Goob's server. My short answer is, just wait until renewal/cancelation time comes around and then we'll see who's right.

My long answer is, let me educate you and anyone else who believes Goob's con.

Parrot Analytics counts digitals across the world, not just the US, and based on Jensen and Misha's fanbases, the majority of the increased viewership is from foreign countries. Foreign Digitals only count if the CW is making money off of them. They aren't, because that money is going to CBS and the WB. The only money the CW is making off of these shows comes from advertising and in-app viewing, where they can sell ad-space. They can't even get money in syndication. Therefore, the views that count are the ratings and the in-app views. And since in-app views in the US likely make up a small amount of the worldwide digital views, the best way to measure a shows success is through their Live and +7 ratings. (I'd use C ratings as well, but those are the same across the board for CW shows.)

Also, just a little math since you're only mentioning percentages. 2+1= 3 = 50% increase. 100-94 = 6 = 6% decrease. And yet 94 is still more than 3. Unless you have actual numbers in front of you, percentages mean nothing.

[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.