New audience dimensions in streaming platforms: the second life of Money heist on Netflix as a case study.

The growth in popularity of on-demand content consumption, boosted by large global agents such as Netflix, Amazon and HBO, has brought audience fragmentation even further. Exponential growth in the content available to users (which reduces viewer concentration based on a limited selection), its commercialisation through a subscription-based business model (removing advertising from content) and the boom in consumption on different receivers, many of them mobile or outside the home (thus complicating people meter monitoring), has generated a new ecosystem where success can no longer be assessed using traditional audience measurement systems. This article discusses audience behaviour in streaming platforms and the new dimensions used to measure the success of a television series, above and beyond data provided by television audience measurement (TAM) techniques. From this analysis, the article reviews the transformation in the concept of popularity and how new audience indicators affect the structure of the content distribution medium, which adds further dimensions (engagement, customer retention, talent acquisition, new subscriptions and branding, among others) to more traditional elements (advertisers and international sales). Finally, we examine whether a single concept of audience, valid for all consumption models and audiovisual operations, can be established. Money heist is used as a case study, as it provides a good example of two ways of understanding audience: one linked to its commercial success in the Antena 3 Televisión channel's scheduled programming and the other arising from its inclusion on Netflix, the platform that gave it worldwide popularity. [ABSTRACT FROM AUTHOR]