Who needs a good laugh? These days, after crossing the one-year mark of living in a pandemic, who doesn’t?
Perhaps a sign that consumers are longing for the good times, they are literally watching shows like Good Times. It’s true, the growing abundance of media choices is helping people across the country find something to smile about when they want to turn away from the news and get that happy feeling again. And comedy programs are coming to the rescue.
While the comedy genre is always popular, comedy viewing* over the past year highlights a resurgence of nostalgia comedy programming, particularly shows featuring diverse leads and cast members. Family Matters, for example, which was produced between 1989 and 1998 and features an all-black cast, saw a massive spike in viewership across national TV last year. Specifically, people ages 2 and older watched almost 11.4 billion minutes of the program last year, almost 400% more than in 2019, when viewers watched just 2.3 billion minutes.
While many Americans gravitated to their funny old favorites in 2020, it wasn’t a blockbuster year for the comedy genre overall. In fact, comedy viewing was down 9% nationally compared with 2019. With much of our attention focused on COVID-19, racial injustice and the presidential election, the dip isn’t surprising. That said, our data makes it clear that when audiences needed a break from reality, they traveled back in time to tried-and-true picks like Freunde, Family Matters, the Golden Girls und Two and a Half Men, which, combined, accounted for more than 234 billion viewing minutes throughout the year.
Even with the dip in minutes viewed, the 1.3 trillion minutes of viewed comedy programming across national television last year highlights a very important insight: Despite an array of licensing deals with streaming services, revered comedy programming is just as big of an asset for local and national TV programming as it is for streaming platforms. The Office, for example, which made streaming news late last year when it was announced that the show would jump to a different streaming platform, garnered strong viewership throughout 2020 across both traditional TV programming and Netflix.
The viewership of The Office across traditional TV and Netflix highlights both the massive appeal of the program and how varied consumers’ TV behaviors are. Importantly, viewership of the program across Netflix did not have a negative impact on linear viewing last year, as consumers watched 4% more minutes of the show in 2020 on traditional TV than they did in 2019.
The appeal of nostalgia comedy programming and its availability across multiple platforms bodes well for other streaming platforms as well, as the top three comedy titles of 2020 (Freunde, Die Urknalltheorie und Two-and-a-Half Men) are no longer solely available through traditional syndicated TV programming. Freunde, for example, racked up almost 97 billion minutes of viewing across national TV last year, making it the most-viewed comedy show of 2020. And now that it’s available on HBO Max in the U.S. and Netflix in Canada, Australia and the U.K., total viewership in 2021 will grow the program’s audience much more broadly.
Die hohen Zuschauerzahlen beliebter syndizierter Programme über alle Plattformen hinweg unterstreichen eine wichtige Erkenntnis: Wenn sie an mehreren Orten verfügbar sind, steigt die Gesamtzuschauerzahl. In diesem Sinne sollten die Sender nicht vor möglichen Syndizierungsverträgen zurückschrecken, nur weil ein Programm auch anderswo verfügbar sein könnte. Diese Ergänzungen würden dann wiederum auch den Werbekunden zugute kommen.
Es ist schwer vorstellbar, dass die Verbraucher heutzutage keinen guten Lacher brauchen, aber regionale Daten zeigen, dass das Fernsehverhalten in den verschiedenen Märkten alles andere als analog ist. So sahen beispielsweise die Menschen in Pittsburgh im vergangenen Jahr durchschnittlich zwei Stunden und 25 Minuten pro Woche Comedy-Sendungen, was deutlich mehr ist als die 49 Minuten, die die Zuschauer in Salt Lake City pro Woche mit Comedy-Sendungen verbringen. Auf Jahresbasis ist der Unterschied noch ausgeprägter: 126 Stunden pro Person vs. 43.
Programming preferences are equally varied, with Freunde, Big Bang Theory und Two and a Half Men ranking as the top three comedy programs across 42 designated market areas (DMAs). Meanwhile, unlike viewers across the rest of the U.S., viewers in Greensboro-H.Point-W.Salem and in Raleigh-Durham rank the Andy Griffith show as their favorite comedy.
In times of disruption and uncertainty, few would argue that the comedy genre is a welcomed diversion. Disruption makes viewers reach for the tried while uncertainty drives us toward the true. And generally speaking, good comedy is timeless, as evidenced by notable viewership spikes in programs as diverse as the Golden Girls, George Lopez, Full House und Hogan’s Heroes. After a year of isolation, with the road ahead brightening, but still unsure, as more nostalgic programs find their way to new platforms and channels, there’s little doubt that along with our hopes, viewership will continue to rise.
*Beschaffung und Methodik
Die Betrachtung von Comedy in dieser Analyse umfasst alle Programme, die unter die Genres Comedy Variety und Situationskomik in NNTV (Nielsen National TV View) und NLTV (Local TV View) fallen. Alle Sendungen, die über Rundfunk, Kabel und Syndication ausgestrahlt werden, wurden für das gesamte Jahr 2019 und 2020 berücksichtigt. Die Betrachtung basiert ausschließlich auf dem traditionellen PUT (live+time-shifting) auf dem Fernsehgerät. Jegliches Streaming oder die Betrachtung über digitale Geräte ist ausgeschlossen. Die Bruttogesprächsminuten werden anhand der Gesamtdauer der Sendungen über alle Ausstrahlungen und der hochgerechneten Zuschauerzahl in der Gesamtbevölkerung berechnet.
