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Investigation Discovery Analysis


A mix of repurposed acquisitions combined with catchy-named originals comprise ID’s schedule.  Overall, ID boasts a well-balanced schedule that doesn't rely too much on one or two titles - most programs get equal airtime.


Live + SD Primetime Ratings Comparison / October 2012 vs. October 2011  (% Change)

Source: The Nielsen Company's National Television Audience Sample

Investigation Discovery continues its upward trend for yet another month.  October 2012 is in the books as another positive month with every night seeing year-to-year growth.   ID is "America's fastest growing network," according to network press, and it's clearly evident from the ratings, which, month after month, have shown growth compared to last year.  As has been the trend, every night of the week has seen an increase in overall viewers.  Compared to other networks, ID boasts numbers that hover around their average every night of the week.  There are no big dramatic fluctuations from night to night - just solid programming with loyal viewers.  In addition, almost every returning show from October 2011 saw overall HH growth compared to last year.  And, having just announced a tremendous slate of originals at their upfront, there seems to be no stopping ID's momentum.  As one of the few networks still open to the co-production model, ID's slate of original series show no signs of slowing, and it's a great network for producers hoping to retain international rights.

October's Monday night primetime lineup featured BLOOD, LIES, & ALIBIS in the 9pm and 10pm slots.  Leadout this month was FINAL WITNESS, which replace STOLEN VOICES BURIED SECRETS and UNUSUAL SUSPECTS for September.  The night was up 48% from last year in overall HH viewers.  FINAL WITNESS scored numbers well above-average in the beginning of the month, though numbers did start to fall in week 4 for the show.

Tuesday nights in October were up 34% compared to October 2011.  The night was anchored by original series I ALMOST GOT AWAY WITH IT (which replaced off-network acquisition DATELINE in the 8pm slot,) followed by HOMICIDE HUNTER and TWISTED.  Numbers for the originals scored higher than average.  The night also saw the debut of ID FILMS: INTO THE ABYSS, which didn't manage to hit average.

Relationships from hell continues to be the Wednesday night theme for ID, with a lineup featuring WHO THE BLEEP DID I MARRY,  DIRTY LITTLE LIES, and I MARRIED A MOBSTER and THE DEVIL YOU KNOW, paired with DATELINE in the 8pm slot.The night was up moderately in overall viewers compared to last year (13%).  Ratings fluctuated a bit, but most airings hovered around average for the originals, while DATELINE struggled to find its viewership throughout the month.

Thursday night's 34% growth can be attributed to VERY BAD MEN, in the 10pm and 10:30pm slots, as well as THE WILL, which scored almost double average in its premiere.  Though the audience did fall the following week, it continued to bring in above-average numbers for the night.  The series is up 34% in HH viewers compared to its performance in October 2011.

Friday night's 18% increase was fueled by DEADLY WOMEN and DEADLY AFFAIRS.  It's clear that relationships + death = a solid combination for ID programming.

More in that genre on Saturday nights - WHO THE BLEEP DID I MARRY, WICKED ATTRACTION, HAPPILY NEVER AFTER, and DEADLY AFFAIRS appeared on the October's Saturday schedule for ID.  The night was up 31% in overall viewers.

Sunday nights were anchored by a slew of ID staples, driving up viewership 9% compared to last year.  In October, 48 HOURS ON ID replaced ON THE CASE WITH PAULA ZAHN in the 8pm slot, paired with SINS & SECRETS, and UNUSUAL SUSPECTS.  While 48 HOURS hovered just below average, SINS & SECRETS and UNUSUAL SUSPECTS delivered ab0ve-average numbers for the network throughout the month.

It's clear that ID has tremendous momentum and an influx of new programming to keep viewers compelled and coming back for more.  For producers, it's also one of the few places that will potentially greenlight a paper pitch - just make sure your stories haven't been... "done to death."