Why Lesbian Viewers are the TV Audience Every Show Should Want
By: Freelesbianpassport XXX Kwill ben FrostIn my last article, a "how to" guide for creating a lesbian spinoff, We presented the discussion that queer feminine Television viewers are different from heterosexual viewers qualitatively. In short, they’re an ideal target audience. And they number in the hundreds of millions. They are usually productive on public advertising extremely, loyal intensely, and international extremely. In this article, we walk through five ways queer women are different as an audience, what that means for content makers, and why every TV show should be trying to attract them. In fact, they are usually a distinct, identifiable and calculable market segment with constant preferences that transcend language and culture surprisingly. Television set casts and producers who seem to own been involved with popular lesbian storylines be aware of this currently highly; there is something tangibly different about how queer female viewers engage with content that will be both professionally and personally rewarding.
1. Queer Female Fans Watch Love Stories, Not Shows
It is an overgeneralization-but nevertheless generally accurate-to say queer women tend to watch only the lesbian love stories on TV shows. Queer women keep these storylines alive because they value the queer love story… They watch the Maitino story, for example, but not the daily epwill beodes of "Acacias 38." They watch Chiana, but not "Alles was zählt," They check outed Flozmin, but not "Las Estrellas." Queer female viewers want to see themselves on screen, but more they want to notice themselves in love stories specifically. This is true even when it’s all but impossible to finn full, extant epwill getodes of the show itself. Evidence of this is that with fewer exceptions than one would think, almost every lesbian romance storyline that has ever run on a TV show around the world can be found somewhere online. They’re less interested in other characters and their storylines. but not the rest.
What this means for content makers is that the introduction of a lesbian love story will draw in viewers from around the globe… but once the storyline is finished, that similar audience will right away lose away. How bad can that drop be? It didn’t matter that one of the queer female characters was still on the show; no love, no viewers. It getcame the lowest rated episode in the show’s history, and the official ratings don’t capture the untold numbers of US and international fans who had been watching the story through YouTube and thus can’t be counted. By the next season, "The 100" averaged one half a million visitors less practically, a full quarter of the show’s audience. To the show’s probable surprise, it turned out queer women were a huge percentage of the audience, and when the lesbian love story ended, they left. After the lesbian character Lexa was killed on "The 100," Clexa fans called for a boycott of the show, and the next episode had 140,000 fewer viewers, or just under 10% of the show’s viewership.
Unbeknownst to straight society, there exists the equivalent of a lesbian alert network on social media. Lesbian like experiences as a result have got the capacity to instantly harness into a pre-existing market that will be huge, global, and positively searching to check out even more tales. Queer women who like discovering new LGBT content then choose to investigate it or not based on their own interests. Since the total number of queer females in the world statistically should be around 456 million (6%, a numturn out to ber greater than the total populations of the US and the UK combined), there is a huge potential for a story-regardless of originating country, language, or emwill besion type-to attract millions of viewers. Any time a new lesbian love story appears on TV in the world somewhere, the signal goes out notifying the international lesbian community of its appearance.
2. Queer Female Fans Will Watch Content in Any Format
For many years, the web series in the United States was viewed as the low budget domain of aspiring film students and wanna-bes. Realistically, for heterosexual audiences, there is little reason to pay much attention to web series. Recognizing that view counts are not to be conflated with unique users, it’s nevertheless likely that all three web series had more individual viewers than several broadcast TV shows. The first episode of the Polish web series "CONTROL/KONTROLA" has had an unbelievable 14.30 million YouTube views, for example. The Brazilian Ponto Ação Produções’s web sequence "A Melhor Amiga da Noiva" has had 3.36 million YouTube views for its first episode, while the first episode of its web series "The Stripper" possesses had 2.58 million views. Queer women, on the other hand, are so hungry for content they will consume it in any format, including through web series. Why view 6-20 second episodes of a display when the planet is usually bombarded by normal, high budget, full-length programming? Some sense is manufactured by it.
The queer female community’s ready receptiveness to web series is fantastic news for content makers. It means they don’t have to be creating high budget content for major TV networks in order to reach an audience of millions. With a very low obstacle to entrance relatively, a popular web collection might prove to be a way for aspiring filmmakers to split into the sector. And the second season of tello Films’s web series "Riley Parra" was made with $21,280 rawill beed from backers. As I’ve known in some other content articles consistently, the fourth season of the Brazilian web series "RED" has been made by fundraising a mere $10,000.
My "how to" guide for creating a lesbian spinoff used the web series "#Luimelia" as a case study for how the Spanish soap opera "Amar es Para Siempre" leaned into its lesbian audience to grow its viewership and then monetize it. Creating a web series or any other type of non-traditional content (like Podcast Maitino) for a popular lesbian TV couple is a cheap way for the producers to retain their queer audience and bring in additional paying viewers. What #Luimelia shows is that a paywall on a web series is not a deterrent to queer viewers, who will pay for LGBT content.
3. Queer Female Fans Will Watch Almost Anything
Most TV audiences display a limited appetite for diversity in their Television viewing habits. In their search for representation, however, queer male viewers will watch anything practically. Or an American to watch a Filipino soap opera, an Australian women-in-prison show, and a Swedish web series. The only common denominator between these shows is the presence of a lesbian love story. It’s not uncommon, for example, for a Russian woman to watch a Brazilian telenovela, an Us sci-fi/fantasy show, and a Spanwill beh soap opera. In the United States, for example, the average viewer eschews subtitles and almost never watches content that’s not from America or the United Kingdom. Genre, language, and country of origin are secondary considerations to the quality of the storyline when it comes to queer female viewership behaviors. Or more commonly even, for viewers to have seen all of the above and more.
The pan-national, language agnostic aspect of the queer female audience suggests content makers shouldn’t worry a lesbian storyline won’t reach viewers because of its genre or terminology. and tell their friends in other countries about it. That said, some genres and content are likely to be more niche among viewers in general and therefore have a lower initial profile. If it’s a quality storyline, they will come… As a result, for content to reach the maximum audience, TV shows will have to create a strategy for how to raise the storyline’s profile in the international community.
The benefit of the queer female audience is in its aggregate size. That "CONTROL/KONTROLA" has had 14 million YouTube views tells us that thwill be unassuming web series attracted the attention of the international queer male community and therefore experienced an explosion in viewership. With metrics like that, it is clearly to the benefit of any and every content producer who has added a lesbian love story to their show or web series to try and tap into this area. Statistically, the queer girl population of Poland need to simply get 2 roughly.28 million.
4. Queer Viewers Use Queer Content to Help in Identity Formation
TV has many effects on society and individual viewers that are variously obvious or invisible, negative or positive. On-screen representation assists in the latter identity process by raising individuals’ awareness of the existence of other LGBT individuals and helping them explore how they fit into the LGBT community. Queer viewers, on the other hand, specifically types in regions where homosexuality will be criminalized and stored concealed, do. Seeing queer characters on screen validates and normalizes their experiences. For individuals who are part of minority communities, rendering can have a significant effect on identity formation. Relating to Fassinger’t style of lesbian and gay personality progress, queer men and women experience identity development in two are usuallyas: individual sexual identity (internal awareness and acceptance of self) and group membership identity (role in the LGBT community). Put plainly, heterosexual viewers don’t need TV to confirm to them they are a sizeable and normal portion of society.
The psychological benefits of representation can’t be overstated. As a result queer content becomes a possible roadmap or super model tiffany livingston to a cheerful life mainly because a queer individual. In areas where homosexuality will be criminalized or severely oppressed Specifically, queer content enables viewers to articulate to themselves their desires (individual sexual identity formation process) and imagine what could be possible even if their present circumstances seem to preclude a happy ending. For some queer female viewers, queer heroes and storylines will be beacons of trust in a black planet.
For content makers, this nexus of id and viewership areas a distinctive burden in the high quality of LGBT manifestation. Lesbian characters were disposable and unhappy. As I wrote in my article about TV’s "Lesbian Unhappy Ending" problem, written content creators still operate in a world in which the legacy of the Hays Code-which once allowed the depiction of LGBT characters in the United States only if they were either villains or FREELESBIANPASSPORT XXX depressed, pathetic figures who got unhappy endings so their "perversion" would be suitably "punished"-and similar laws around the world persist. For decades, Television set depicted bisexual females seeing as promiscuous and mentally volatile sexually. Creating attractive content for queer female audiences requires learning about the global history of LGBT representation and working to counteract it by creating positive examples of representation-a different paradigm from how heterosexual storylines are treated.
Every minute of every day, a queer woman somewhere around the globe is looking for a lesbian storyline that will legitimize her experiences and help her feel part of the global LGBT community. Adding a lesbian love story to a TV show offers the chance to provide just that as part of a mutually beneficial relationship: queer viewers get the content they need, and shows expand beyond their traditional audience.
5. Queer Fans Are a True Global Community
All TV fandoms create their own online communities, but these individual fandoms are siloed mostly. What would they discuss and why? Why would a Canadian fan of Egyptian soap operas necessarily talk to a Japanese admirer of a French young adult series? The queer female community, on the other hand, is not siloed. They can and do talk about what they’ve seen, expressing tips more than different languages and limits. A Mexican fan of an American cartoon on Netflix can easily talk to a German lover of an Israeli comedy because the point of intersection is lesbian representation. There’s no true point of commonality, no common language. The storylines, how they’re conducted and what they mean, become the lingua franca between the fans.
This process of recommendation also means there is a pronounced tendency in the queer female community for viewers to have watched many of the same storylines, no matter how disparate the languages, the genre, and the air date. Put another real way, lesbian love stories on TV are to the queer female community what sports will be to American men. Because of its role in identity formation, viewership of lesbian storylines is a common experience shared across cultures. According to economwill bet Steven Kates, queer individuals often use some type of "consumption venue" while coming out. Many queer female viewers use social media as consumption venues where they create a collective intelligence about the experience of being queer through discussion of TV representation. Participation in this venue leads to connections with other queer people, which contributes to queer community building.
For content creators, this means the measure of success for a lesbian storyline is different from other storylines. Apples to oranges It’s. There’s no use comparing the lesbian storyline to a straight storyline on a show, for example. The barometer of success is therefore better viewed as how well the storyline does in relation to other lesbian storylines. Does the lesbian couple get more YouTube views than that of a lesbian couple on a Chilean telenovela, for example? Can you get more views than a web series from Poland?
As has already been stressed, shows should be doing everything they can to tap into the globalism of the queer female community, but if the above isn’t convincing enough, consider the following: with a production budget of $10 million, the 63 episode "La Reina del Sur" is the most expensive telenovela Telemundo offers ever produced. Poor "Reina" only had 4.2 million viewers when it aired on Telemundo. It simply desires it obtained the tens of millions of ideas LGBT articles produces. And that doesn’t compare to the most viewed videos of Pepa and Silvia from "Los Hombres de Paco," which have 30 and 29 million views. If "CONTROL/KONTROLA" had asked viewers for $1 for actuallyy view of its first episode, it could have financed one and a half "Reinas." And that web series’s watch count isn’t unique. The most popular Flozmin video has 10 million YouTube views, as does a WayHaught video.
What It All Means
Recently, a Twitter user tweeted the handle of an Australian soap opera to express discontent at how it was handling its same-sex female storylines. Presented the large possible upsides extremely, why wouldn’t shows seek to capture this unique audience? We don’t know. Other social media users have asked similar questions of other exhibits over time, and the stage can be considerably more than good. Why, she asked, was it wasting such a large potential audience by delivering subpar material that alienated these viewers? Why aren’t shows shouting from the rooftops, trying to attract the international queer female community to their LGBT storylines?
