Emily in Paris: A quick data review before the new season release
by Anna Kasprzyk and Nicolás Eugenio Herrera.
When discussing Paris, the first few things that usually come to mind are art, love, and fashion. Precisely this mix, with a focus on love and fashion, was used by Darren Star to make the hit Netflix Original series Emily in Paris.
The romantic comedy series sees a young American marketing manager, played by Lily Collins (Mirror Mirror, Les Miserables, Tolkien), leave Chicago to go work as a marketing executive at her agency’s branch in Paris. In the first two seasons, we saw Emily Cooper struggling with a new language, a different culture, and unsupportive colleagues. We also participated in Emily’s turbulent and complicated relationships.
Right from its premiere in October 2020, the series gained a cadre of faithful fans, so there was no surprise when Netflix decided to continue Emily’s adventures. As the third season drops on December 21st, let’s check the previous two seasons’ viewership data in France, the United States, and Poland in the first 7 and 28 days after release.
Table 1: Emily in Paris, Season One and Two, Share of Viewing (SoV), Unique Viewers (UV), and Total Hours Watched (THW) in the first 7 and 28 days after release in France, the United States, and Poland
We analyzed three metrics for Emily in Paris, season one and two, after 7 and 28 days from its premiere in each of the three countries:
- Share of Viewing (SoV) is a percentage of all active profiles on the platform who watched at least 2 minutes of the given content
- Unique Viewer (UV) is defined as a profile that watched at least 2 minutes of the given content
- Total Hours Watched (THW) is the sum of all the time spent watching the given content by subscribers
According to our Showlabs data, the first season of Emily in Paris attracted more than 7M Unique Viewers (UV) in the first seven days after release in the United States, which then doubled after 28 days. These numbers look impressive compared to how Emily fared in France and Poland, but the Share of Viewing (SoV) tells a different story.
The first season had approximately 6% SoV (7 days after the premiere) and 9% (after 28 days) in the United States. In comparison, in France, it was almost 11% (after 7 days) and more than 17% (after 28 days), while in Poland, more than 11% and almost 19% of all active Netflix profiles watched the series. So, despite the American audience outnumbering the French and Polish ones in absolute terms, we can say that the relative performance of the series was better in France and Poland.
The second season saw the audience size expand in the United States, with slightly more viewers watching the series in the first 28 days. The most significant growth was in the Total Hours Watched (THW), which increased from almost 43M for season one to nearly 55 M for season two.
In France, the 28-day UVs and THW were only slightly lower for the second season, while in Poland the numbers stayed the same. However, SoV decreased in both countries compared to the first season, which is strong evidence that Emily in Paris is merely hanging on to its original audience, rather than reaching new fans.
The audience measurement data in this article comes from Showlabs, developed by PlumResearch.
PlumResearch specializes in precise and granular data measurement of the streaming platforms. It has the world’s largest online audience panels and provides its clients with insights from over 75 markets worldwide.
Through Showlabs — the proprietary platform created by PlumResearch — the company’s clients can find out how shows and movies are performing worldwide and track what exactly contributes to their success. Showlabs provides clients with accurate data, in-depth insights, and a reliable customer support team.
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