The Katch team was on the ground at the 40th Anniversary of the iconic Sundance Film Festival.  The fest featured eclectic and fantastic narrative and non-narrative features that bonded beyond their storytelling differences. Of course, Katch was there to sort through the significant trends that were found. While the traits that aligned ranged from musical scores to brooding characters, one area in particular stood out.

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In a bevy of ways, the stories this year focused on the power of relationships. Whether through family, friends, romance, or one’s self, unity in companionship was a relevant and captivating component.

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Blood runs deep. A story of family was frequently present, from cousins in A Real Pain, mothers and daughters in Suncoast and Girls Will Be Girls, a grandma in Thelma, to siblings and a father in A New Kind of Wilderness. Specifically, the parent-child dynamic was focused on in Suncoast, A New Kind of Wilderness, Girls Will Be Girls, and Good One, further exemplifying the familial hold that this year’s slate had.

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When it came to love and friendships, these were also blooming. Skywalkers: A Love Story and Between the Temples highlighted unique flourishings between couples, while Thelma and Suncoast had unexpected acquaintances that were impactful.

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Another element that arrived with frequency was the Story of Self-Discovery.

From youth to adulthood, it is present within A Real Pain, Suncoast and Between the Temples, Agent of Happiness, Kneecap, and even Skywalkers: A Love Story, as various, individual stories all connect as each looks to find their path.  

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From dramas to wondrous documentaries, relationships were a routinely revisited theme at this year’s fest, showing during this holiday of togetherness that connection always trends.

This week marks the beginning of the 40th Sundance Film Festival. For decades, audiences have flocked to Park City, Utah to see some of the most anticipated independent films. In honor of such a major milestone, we analyzed the past five winners of the U.S. Grand Jury Prize for dramatic features in an attempt to find any correlation between them. Perhaps we can predict what film might win this year, as well.

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The films used for this analysis include: Clemency (2019), Minari (2020), CODA (2021), Nanny (2022), and A Thousand and One (2023).

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Over half are set in urban environments, with CODA being set in small-town New England and Minari being a more rural tale, though all take place in the United States. Most are also contemporary films, except for Minari and A Thousand and One, and all except A Thousand and One are stories of the middle class. Nearly all titles tackle intellectual themes, usually surrounding morality and ethics, and over half were tales of economic inequity or financial struggle.

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Three films have women in leading roles, with only CODA focusing on the teen/high school experience. All include lovable, courageous, and sympathetic characters, with both Clemency and Minari incorporating ones that are brooding. Nearly all films follow a mother’s journey, with Minari and CODA including the father, and most focusing on stories of family life. Only CODA paints a portrait of a loving family while the others showcase family problems.

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Only CODA and Minari have happy endings, while Clemency has a sad ending and Nanny and A Thousand and One have more ambivalent endings. All titles are led by a unique and defining directorial vision, typically including virtuosic acting performances, and are character-driven stories. True to the award category, these are dramatic films, though Nanny also leans toward psychological horror. These are films geared toward mainstream audiences, all with mild/limited violence and only A Thousand and One using graphic language.

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What does this show us? Despite how different these films seem at face value, they actually have much more in common than one would think. For the past five years, at least, these award winners have followed interesting trends in their traits across all aspects of the film. Who will win this year? Exhibiting Forgiveness? In the Summers or Suncoast? Only time will tell, but if it’s one of these films, you heard it here first.

For seventy years, the teen movie has been a staple of film. From the counterculture films of the 50s and John Hughes films of the 80s all the way to the Dawson’s Creeks and Riverdales of today, their rise in popularity and public interest has never waned. For proof, look no further than Paramount’s latest release, Mean Girls, based on the musical adapted from the original 2004 film. In honor of the modern teen classic, in all its forms, we’re taking a look at teen films across the decades in the hopes of finding trends from generation to generation. Who knows; maybe our film tastes are just like our parents, after all.

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The films used for this analysis include: Rock Around the Clock (1956), Beach Party (1963), American Graffiti (1973), The Breakfast Club (1985), 10 Things I Hate About You (1999), Mean Girls (2004), and Booksmart (2019).

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Teen movies are meant to be products of their time, showing a slice of culture as it’s perceived at that moment. As such, all of these titles are set in their contemporary settings, rather than being a period piece about teenage culture in the past or future. Most are also set in the middle-class suburbs, save for Rock Around the Clock which traveled around and Beach Party, which was set on…well, a beach. While the first few films primarily followed male leads with women being secondary, from The Breakfast Club onward the stories became more female-driven, with Booksmart being the only title with an LGBTQ+ lead. Nearly all also featured lovable and courageous characters, with almost half including detestable, sympathetic, or brilliant leads as well. With the exception of The Breakfast Club and Booksmart, each film highlighted the story of a heterosexual couple as an A- or B-plot.

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The plots of these films follow their protagonists through a significant period of their lives, usually through a coming-of-age story with the exception of Rock Around the Clock, which focuses on a band and their manager. Though all titles revolve around teenagers, only 10 Things I Hate About You and Mean Girls also tackle the relationships of said teenagers with their families, for better or for worse. While about a quarter have a couple falling in love, nearly half also have encounters within a love triangle, such as in Beach Party, 10 Things, and Mean Girls. Less than half also tackle teenage friendships, even if it’s an unlikely alliance, as is the case in Breakfast Club and Mean Girls. All titles utilized situational humor, though Rock Around the Clock and Beach Party lead with more clean or cute humor while Mean Girls and Booksmart opted for sexual humor with raw and gritty scripts.

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No matter the story, and regardless of the decade, all of these films have a happy ending, most of which also have tidy, well-synthesized scripts. They all incorporate impactful soundtracks of rock or pop music, sometimes both, with Beach Party being the only musical while Rock Around the Clock does employ diegetic performances, but is a music-themed feature rather than a musical. With the exception of Breakfast Club, these teen movies are fueled by a bright and uplifting mood; most also embody a joyful spirit. Every title except for Rock Around the Clock is character-driven, but all are musical statements, with its score or soundtrack being dominant, memorable factors in each. Teen movies tend to err on the side of comedy, half of these being romantic comedies specifically, in contrast to television series which are more dramatic, with American Graffiti, Breakfast Club, and 10 Things better classified as dramedies. Though Breakfast Club and Booksmart use graphic language, all films exhibit only mild or limited violence while also being accessible for mainstream audiences.

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No matter what generation it was made for, it’s interesting to see how teen movies in each decade highlight themes relevant to all teenagers: Friends, romance, family, and school. There’s also the typical struggles, whether that be at school, within their social lives, or demons of their own. Teen movies are typically upbeat, filled with humor and supported by a kick-ass soundtrack. Though this isn’t indicative of all titles, as there are plenty of teen dramas as well, though those likely also cover similar story elements. So what can we do with this information? Well, given its similarity to these films (and that it’s based on one of them), it can be inferred that the new Mean Girls will be just as successful as its predecessors, if not more so. In being products of their time, we also see how casting has gotten more diverse over the years, a trend which will quite likely continue into future generations. By following this course, it’s possible to see what future teen films will likely be successful as well, and in looking toward future projects we can get an idea of what lies in store with the help of trusty Katch Data. Don’t you forget about us. *Freeze frame, roll credits*

In the summer of 1923, a young Walt Disney left Kansas City for California. In October, he and his brother Roy founded the Disney Brothers Studios (eventually Walt Disney Studios). They produced original cartoon shorts, including Oswald the Lucky Rabbit, Mickey Mouse, and their Silly Symphonies series. As Walt’s ambition grew, he set out to make the first feature-length animated film in the United States. Despite critics who warned it would be a costly mistake, in 1937 Snow White and the Seven Dwarfs was met with universal acclaim and set the standard for animated films.

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100 years after its founding, the Walt Disney Company is a monolith of entertainment, having released 62 animated films under their banner alone, to say nothing of Pixar and releases through Buena Vista Pictures and other distributors. This past November, they released Wish, their 62nd feature film and a tribute to a century of animation history. Naturally, we at Katch used our data to see what traits might be shared across such a vast catalog. No pixie dust required; just our Genome.

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The entire list of films included in this analysis is available at the end of this article. For the sake of brevity and clarity, all 62 films have been divided into three categories. The first is Walt’s Life (1937-1967), which includes all films produced during his lifetime (though he passed before the release of The Jungle Book). Next is Post-Walt (1970-2000) the third of films immediately following his passing and up to the new millennium, and finally the Modern Era (2001-2023), which encapsulates later titles, up to and including Wish.

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Beginning with the context and setting of these films, only one film during Walt’s time, One Hundred and One Dalmatians, was set in an urban environment. However, this leapt to 28.57% during the post-Walt era, before easing down to 22.73% of modern films. In addition, tales set in a forest have steadily declined from 26.32% to 13.64% today, totaling a frequency of 21.25% across all films. One interesting trend is how the use of a fairy-tale setting has varied. Under Walt’s purview, such settings accounted for 42.11% of all films, before plummeting to 19.05% in the era after his passing. However, in more recent years, there has been a resurgence in such titles, currently up to 31.82%, likely due in part to the “Disney Renaissance.” Despite this dip and recovery, fairy-tale stories still account for a third of the total catalog.

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While early films included intellectual themes in over a third of their stories, they didn’t often focus on internal moral conflicts. Right or wrong was often a straightforward issue. However, after Walt, there was a huge surge in tales of moral uncertainty and other themes, from 10.53% to 61.90%, including films such as The Black Cauldron and Emperor’s New Groove. In modern titles, over half still tackle this ideological issue, which is good, because audiences appreciate multifaceted characters that struggle in the moral gray area, not always just a clear-cut right or wrong.

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It’s interesting to see that while titles revolve around such themes of morality, as well as an overall increase in flawed heroes — those who don’t always possess the traits of a typical hero — we see a decrease of villains in primary and secondary lead roles. From the Evil Queen to Ursula, villains have been a big part of Disney history (to the point of having a whole merchandising line dedicated to them). While villains are certainly prevalent in modern films, their impact on the overall identity of a title isn’t always what it once was. Loveable, courageous, sympathetic, and family-dedicated leads have always been a big part of Disney’s appeal. However, we do see an increase in brilliant or clever leads (from zero to 27.27% overall) and a decrease in ones who are naïve (68.42% to 27.27%).

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There are some plot themes that, even a century later, just never change. Over 40% of all films have been stories of self-discovery, and 68.55% are tales of adventure, whether that be a fight for survival (Bambi), a treasure hunt or quest (Atlantis), or a desperate rescue mission (The Rescuers). For most of the company’s existence, over half of titles employed the use of talking animals, only recently dropping down to 40.91%, while still maintaining a rate of 55.16% overall. Stories of family have ever-increased from 36.84% to 63.64%, comprising about half of the total filmography, while ones following a squad on a mission have nearly tripled, up to 77.27% (Bolt, Wish).

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As iconic as Disney’s love songs have become, from “Someday my Prince Will Come” to “I See the Light,” stories of finding your one true love aren’t as prominent as they seem, only accounting for 17.98% of all 62 films. In the last 23 years, only The Princess and the Frog and Tangled fall into this category, with nearly 24% occurring in the post-Walt era and only 21.05% during his time. However, stories that focus on specific cultures have seen an overall increase. While Saludos Amigos and The Three Caballeros were the only titles to do so in Walt’s day, this wouldn’t happen again until Aladdin and Mulan, but following Princess and the Frog, we see a push where almost 32% of all modern films are culture-focused, from Zootopia to Encanto and others in between.

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A majority of all films (67.87%) are great escapes: lighthearted stories with humor throughout and mild violence, while showcasing many different genres and plot themes. Nearly all films, 88.53%, employed clean/cute humor, with situational humor also averaging about half of the time along with the silly and absurd around a third. Almost every film has a happy ending except for Make Mine Music, which has a sad ending, and The Adventures of Ichabod and Mr. Toad, which is less so but far from happy.

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Of course, Disney films have long been praised for their music. As such, it’s no surprise that over 55% have a sophisticated and distinctive musical score. While over half of Walt’s films possess this trait (Snow White, Peter Pan), and three-fourths of films between 1970-2000 (Aladdin, Lion King, etc.), only a third of the more modern titles can say the same (Frozen, Moana). However, this drop is not reflected in all musical traits, as at least 72.73% of titles in each category boast an impactful song-based soundtrack. Typically, the films that don’t have such a soundtrack are non-musical ones, such as Atlantis, Bambi, or The Black Cauldron. Similarly, there has been a decrease in musical films in the last third of the catalog, down to about 45% from 78% in the beginning.

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Given the nature of the Disney brand, it makes sense most films will have a bright and uplifting mood. There has also been a consistent increase in active and energetic films, peaking at 77.27% in the modern era and 60.43% overall. They’ve also maintained a predominantly joyful spirit, with over half also embodying a feeling of wonder (Three Caballeros, Fantasia 2000, Wish).

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Though only 42% of early films were adventures, this has ballooned to 95.45% in recent years. They’ve also gotten more humorous as well, with over 63% classified as comedies in the modern era, all of which are also family and/or friendship comedies (Chicken Little, Strange World). However, the average is still only 39.41% overall. Nearly half of films can be classified as fantasy, with only 13.64% of titles being sci-fi, though comprising a substantial 40.91% of modern films (Treasure Planet, Big Hero 6).

Almost 70% of all films, particularly those in the early years (84.21%) provide aesthetically rich experiences. Many showcase the beauty of the natural world (Bambi, Tarzan, Moana), but a large majority, 75%, focus on a music-rich experience. Of course, all of these films are family-friendly, nearly always exhibiting only mild or limited violence (some having no violence at all, as with The Many Adventures of Winnie the Pooh), and an average 36% leaving audiences with a feeling of inspiration as the credits roll, including films like Dumbo, Robin Hood, and Wish.

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So what can we do with this information, besides appreciating Disney’s simultaneous consistency yet also evolution over so many years? In discovering trends across such a vast library, we can find ways to market older or lesser-known films to new audiences by emphasizing similar traits. Conversely, perhaps newer films can be presented to longtime viewers who harbor nostalgic feelings for a “golden age” by making those links between new titles and their lifelong favorites. Another option is grouping titles previously thought to be dissimilar for interesting categories on streaming services. The possibilities are endless when tasted-based data is at your fingertips; you don’t even have to wish upon a star for it.

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Below are the films used in the analysis of this article:

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Walt’s Life: Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940), Dumbo (1941), Bambi (1942), Saludos Amigos (1943), The Three Caballeros (1945), Make Mine Music (1946), Fun and Fancy Free (1947), Melody Time (1948), The Adventures of Ichabod and Mr. Toad (1949), Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), and The Jungle Book (1967).

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Post-Walt: The Aristocats (1970), Robin Hood (1973), The Many Adventures of Winnie the Pooh (1977), The Rescuers (1977), The Fox and the Hound (1981), The Black Cauldron (1985), The Great Mouse Detective (1986), Oliver & Company (1988), The Little Mermaid (1989), The Rescuers Down Under (1990), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Mulan (1998), Tarzan (1999), Fantasia 2000 (2000), Dinosaur (2000), and The Emperor's New Groove (2000).

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Modern Era: Atlantis: The Lost Empire (2001), Lilo & Stitch (2002), Treasure Planet (2002), Brother Bear (2003), Home on the Range (2004), Chicken Little (2005), Meet the Robinsons (2007), Bolt (2008), The Princess and the Frog (2009), Tangled (2010), Winnie the Pooh (2011), Wreck-it Ralph (2012), Frozen (2013), Big Hero 6 (2014), Zootopia (2016), Moana (2016), Ralph Breaks the Internet (2018), Frozen II (2019), Raya and the Last Dragon (2021), Encanto (2021), Strange World (2022), and Wish (2023).

When we reflect on the holiday season, our hearts are drawn to the allure of timeless classic films. These cinematic treasures have gracefully evolved, adapting to our ever-changing perspectives. But what is it about these movies that captivate us? The answer lies in our innate yearning for warmth and comfort, reminiscent of a reassuring embrace.

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In the realm of data, there exist certain interwoven elements that come together harmoniously, bestowing upon us the gift of a holiday film that resonates with all. Ours reveals that this world is far from a cookie-cutter template. So, as you prepare yourself a cup of cocoa and don your ugliest sweater, allow yourself to be transported to a place of enchantment and charm.

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In keeping with the spirit of variety, the Movies referenced are It’s a Wonderful Life (1946), Miracle on 34th Street (1947), A Charlie Brown Christmas (1965), Gremlins (1984), Die Hard (1988), Scrooged (1988), Home Alone (1990), The Nightmare Before Christmas (1993), How The Grinch Stole Christmas (2000), The Holiday (2006), and Happiest Season (2020),

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Embedded deep within the tapestry of holiday storytelling lies the unequivocal presence of a happy ending. It comes as no surprise, then, that every single one of these films, without fail, has found its place as a mainstream hit. Both arrive at 100% present in all films as they shower us with joy and uplift our spirits, capturing the very essence of the season itself.

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A fascinating fact unveils itself as we delve further into the statistics: approximately 82% of these films are set in the heartland of America. From NYC (Miracle on 34th Street, Elf) to Chicago (Home Alone) and Pennsylvania (Happiest Season). While holiday celebrations span the globe, America has taken the silver screen and adorned it with the shimmering splendor of particular tinsel, making it a focal point of the magical holiday movie experience. With 27% embracing the more magical side of things (Grinch, Scrooged, Gremlins, The Nightmare Before Christmas) we have 18% of those within a Fantasy world. Furthermore, a staggering 91% of these tales unfold within the realm of the middle class, comfortably centered in social dynamics.

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A prevalent theme emerges within these films, gracing 45% of their narratives—a narrative tie-in with greed. This serves as a poignant juxtaposition to the true meaning of the holiday season: giving. In movies such as Home Alone,  we witness Kevin McAllister valiantly defending his home against thieves driven by their desire for material wealth. Similarly, Die Hard revolves around a heist, while It's a Wonderful Life presents George Bailey's existential struggle, largely stemming from financial difficulties caused by others (including the infamous Potter). Even in seemingly unexpected films like A Charlie Brown Christmas the motivations of certain characters can be distinctly greedy.

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The enchanting quality of these films is further amplified by the inclusion of a musical element that elevates the narrative to new heights. A notable 46% of these cinematic gems showcase a deliberate selection of music, ensuring a distinct and sophisticated experience for the audience. Additionally, an equal percentage of films boast a memorable soundtrack that leaves an indelible imprint on our hearts. Consider the timeless example of The Nightmare Before Christmas, with its original songs that have become iconic and irresistibly catchy. And who could forget the resonating score of Home Alone, etched in our memories forever? Even Elf has a recognizable musical theme that evokes a sense of childlike wonder and boundless optimism.

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One also can’t forget the zany goodness of the Gremlins theme or the iconic, loveable Charlie Brown. Moreover, a majestic 64% of these cinematic wonders incorporate an orchestral score, infusing their storytelling with depth and grandeur—55% focus on sweet music, encouraging sentimentality (The Holiday).

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Within the journeys of our sympathetic main characters (in 81% of films), whether it be wishing their family away (Home Alone) or being a mean or grumpy one (Grinch, Scrooged), a glimmer of redemption awaits. This is a significant aspect found in a remarkable 64% of these films, where personal growth and transformation become catalysts for a heartwarming resolution.

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The significance of set design cannot be understated, accounting for a noteworthy 46% of the films' appeal. This underscores the importance of crafting a visually captivating and whimsical world on screen, mirroring how we adorn our homes during this festive season. Think of the enchanting set design in the beloved film Elf or It’s a Wonderful Life which effortlessly transports us into a realm brimming with wonder.

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These films, with their compelling narratives, 73% tie up loose ends and bring closure to their stories, leaving viewers with a satisfying sense of fulfillment.

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The magic they weave requires a suspension of disbelief, not solely due to the fantastical elements commonly found in holiday movies, but also because of the perpetual optimism that emanates from them (Miracle on 34th Street, Elf). Astonishingly, 46% of these films offer an alternate view of reality, inviting us to explore new dimensions of imagination while others reside more within reality (Happiest Season) and focus on Family (55%) or romance, 36% (The Holiday). Work is a commonality too, with 27% residing in the 9 to 5 (It’s a Wonderful Life, Scrooged). 56% stick to a simplistic storytelling approach, and include memorable performances with 77% being iconic.

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As you settle in to enjoy your most cherished holiday films, remember that they are meticulously crafted with care, seamlessly blending these elements to create a heartwarming and magical experience that captures the very essence of the season, and spirit, itself.

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And so, the debate persists: Is Die Hard a Christmas Movie?

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The data resoundingly replies, "Yes."

November marked the release of Lionsgate’s The Hunger Games: The Ballad of Songbirds & Snakes. Set 64 years before Katniss Everdeen became known as The Girl on Fire, this film is the newest in the blockbuster series which has collectively grossed over $3 billion worldwide, earning over $200 million so far alone. With the source novel released in 2020, and the last film in the franchise premiering eight years ago, what’s luring audiences back to Panem? We analyzed the defining traits of each film to find out just what they had in common, and the odds were ever in our favor.

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As a whole, the series focuses on tales of the down-trodden, those in the districts forced into the Games against their will, and their fight for survival. With the exception of Mockingjay — Part 2, 80% are also stories of captivity. While the first two films have heavy amounts of hand-to-hand combat, only Part 2 exhibits gun fighting to a large degree as well. This makes sense, as having guns in the Games would make them quite brief. Nearly every film told tales of broken trust and/or betrayal, in addition to incorporating themes of economic inequity, notably in the first and second films as well as Songbirds & Snakes.

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While nearly all titles tell stories of politics and revolution, the latter three also revolve around the media, whether used as a tool or a weapon. In addition, the middle three films involve characters enduring psychological distress, either due to the trauma of the Games or even torture. 80% had our heroes experience major plot twists, but all films save for Mockingjay — Part One had the underdog triumphing against bleak odds. While most have powerful scores, only 40% implement an impactful, song-based soundtrack, namely Mockingjay — Part One and Songbirds & Snakes.

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Overall, the franchise consists of tense, energetic adventures within a sci-fi dystopia, driven by their context and characters. Given the source material, these are Young Adult features, with the final two also being classified as war sci-fis and romances. All have themes of totalitarianism, classism, and economic disparity which evoke serious and thought-provoking experiences that resonate with audiences of all ages. Should Lionsgate decide to tell more stories of Panem or focus on the other districts, any future films that incorporate these traits would likely match or even outshine their predecessors.

Since The Great Train Robbery (1903), action films have been an integral part of cinema, luring audiences to the swing of the sword or a hail of gunfire. However, for most of history, nearly all action films have starred men with rare exceptions, such as Torchy Blaine or Linda Stirling in  Zorro’s Black Whip (1944). Then, in 1979, Sigourney Weaver burst onto the screen as Ellen Ripley in Alien, paving the way for leading women in action films.

Today, we’ll be looking at sixteen action films, eight each with men and women as the main protagonist. While this is by no means a definitive analysis of all action films, it’s a respectable sample size to begin a conversation of what differences, if any, are present and if gender plays a role in the type of film produced or the content within.

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The films used for this analysis include: Enter the Dragon (1973), Assault on Precinct 13 (1976), Escape From New York (1981), Aliens (1986), Die Hard (1988), La Femme Nikita (1990), Terminator 2: Judgment Day (1991), The Long Kiss Goodnight (1996), Run Lola Run (1998), The Matrix (1999), Crouching Tiger, Hidden Dragon (2000), Kill Bill, Vol. 1 (2003), The Lord of the Rings: The Return of the King (2003), John Wick (2014), Atomic Blonde (2017), and Tomb Raider (2018).

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Looking at the context in which these films are set, 68.75% take place in urban environments, more often occurring in men’s films. Of those starring men, 83.3% are American stories, mostly set in Los Angeles. Conversely, action films starring women were only set in the United States 12.5% of the time, with 37.5% each in Europe and Asia. Most films’ settings are contemporary, with exceptions including Aliens, Atomic Blonde, Return of the King, and Crouching Tiger.

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In terms of action, 75% of films employed hand-to-hand combat, while 68.75% had gun-fighting to a dominant degree. Only 50% of films used both, evenly split across both groups. While issues surrounding intellectual themes were present in 75% of all films, 37.5% of women’s films dealt with moral or ethical uncertainty, down from 50% in men’s. However, half of women’s films involved stories of betrayal, double that of the men’s.

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An interesting trend showed that while over half of the films starring women also had men in leading roles, only 25% of men’s films did the same. 75% in male leads were true heroes, such as Neo or Aragorn, but only half that were seen in women’s films: Ripley, Lara Croft, and Samantha Caine in The Long Kiss Goodnight. 50% of women’s films starred flawed heroes, up from 25% of men, and only men’s films had a villain in a leading role, as in Enter the Dragon, Die Hard, and John Wick.

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75% of men were cast as sympathetic characters, contrasted to 62.5% of women. While more films starring men, 37.5%, had family-dedicated leads, only one was a dynamic between a parent and child: The Connors in Terminator 2. Compare this to the 25% in films starring women, where The Long Kiss Goodnight followed Samantha Caine’s journey as a mother and Tomb Raider explored Lara and her father’s relationship. The Bride also endured the loss of her child in Kill Bill Vol. 1, but no films have a father balancing being a hero with his duties to his children.

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Despite this disparity, 50% of leading women were portrayed as brilliant or exceptionally skilled in their field, which only occurred in 12.5% of men’s films. 25% followed the story of a romantic couple, either actively together as in Nikita and Run Lola Run, or strained like the McClanes in Die Hard. All films starring men were fights for survival, compared to 37.5% of women’s films. 37.5% of women’s films explored family problems, as in Run Lola Run and Crouching Tiger, in contrast to half that amount in men’s. In many of the women’s films, the hero often encountered foes solo, with little to no backup. Compare this with 50% of men that were part of a squad on a mission who also had stories regarding male friendships, while women did not experience such connections. Films starring women focused on psychological and cultural issues at double the rate of those of men, such as with La Femme Nikita, Crouching Tiger, and Atomic Blonde.

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Women also endured stories of loss and recovery two-thirds more often than men. Half of the men's films, including The Matrix and Return of the King, involved the discovery of The Chosen One; however, this did not take place for any of our female heroes. Over half of all films followed the “(Wo)Man in a Hole” story arc. That is, a hero must fall or fail before they ultimately succeed in the end. In terms of storytelling and narrative structure, films starring women tended to be more imaginative and creative at 62.5%, such as Kill Bill or Run Lola Run. Women’s films used more plot twists and surprise endings, as in Long Kiss Goodnight and Atomic Blonde, but men’s films more often had happy endings, at 62.5% compared to 50%.

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Nearly all films elicited iconic performances, and half were also virtuosic performances, including Sigourney Weaver, Uma Thurman, and Alan Rickman. Where these titles differ, however, is that half of women’s films had leads that could be considered sexy, either by the audience or other characters within the film, but this occurred in only 37.5% of men’s films. Also, in the films starring women, each of these sexualized leads were exclusively women, but in men’s films this could include both men and women.

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A viewer’s experience can be determined, at least in part, by the mood of a title. Regardless of the protagonist’s gender, all titles followed a fairly consistent trend. 43.75% of all films had a dark and gloomy feel, and over 68% exhibited an active and energetic mood. Those that weren’t defined by a dark mood, such as Die Hard, Return of the King, and Tomb Raider, had light or humorous moments that were balanced by dark or weighty scenes. Less than a quarter seethed with feelings of anger and rage, with all films demonstrating tension throughout and a third also exuding a spirit of surprise.

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Given the number of heavy-hitting directors involved in these films, it’s no surprise that a majority come with the trademarks of such visionaries. From Aliens to Nikita, The Matrix to John Wick, these would be completely different films in the hands of another director. A big commonality across most films, a hefty 75%, was the impact of music. Whether it’s the driving techno score of Run Lola Run, the hand-selected soundtrack of Kill Bill, or the iconic synth of John Carpenter, time and again music resonates from these pictures.

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In addition to being action films, half of the men's films also qualify as action-adventures, such as Return of the King and Enter the Dragon, doubling the amount of women’s films in the same genre, including Crouching Tiger and Tomb Raider. While men dominated the sci-fi genres, namely Terminator 2, The Matrix, and Escape from New York, women’s films had more crime and spy thrillers, such as Long Kiss Goodnight, Lola, and Atomic Blonde.

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Noting the frequency of sophistication in the production of films starring women, it makes sense that these titles offered an aesthetically rich experience at double the rate of the men’s, while some films starring men such as The Matrix and Terminator 2 provided a bleaker experience. 62.5% of all films showcased harsh violence, particularly in the brutality of Kill Bill, John Wick, and Atomic Blonde.

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There are certain notable differences between portrayals of men and women, particularly a more frequent depiction of parent-child relationships among women, including the surrogate role filled by Ripley caring for Newt in Aliens, as well as a lack of friendships that contrasted with the closeness of men in their own films. The equal treatment of men and women in terms of violence and vulgarity was an interesting discovery, as it very well could have gone the way of treating women with “kid gloves,” and thankfully that wasn’t the case. However, while women were sexualized more than men, the fact that both men and women were depicted as sexy in films starring men but not women’s films is peculiar. That’s not to say that the films would have benefited from additional characters being sexy, as an action film can still be engaging without sexualizing any characters.

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Outside of those variances, many of the films were no different than a collection of horror films or romantic dramas, regardless of the leads’ genders. These similarities can be viewed positively in the sense of some gender equality among heroes, but there are still strides to be made in terms of plot, sexualization, and representation for all genders within the genre.

In 1897, Bram Stoker unleashed the villainous icon known as Count Dracula upon the world, thereby establishing the character as one of the archetypes of Gothic horror.  In 1921, the first, rather loose, film adaptation, Drakula Halála (Dracula’s Death), was released in Hungary — co-written, incidentally, by future Casablanca director Michael Curtiz. Unfortunately, the film is now lost. The next year, F. W. Murnau chose Max Schreck to don the fangs of the Count in an unauthorized adaptation, Nosferatu. It was thus not until 1931 that the first official film adaptation — Bela Lugosi’s performance in Universal’s Dracula (1931) — was released, which set the standard for the Count’s image and performance for decades to come.

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Today, over a century after Count Orlok slunk through the shadows onto the silver screen, the character of Dracula has been portrayed hundreds of times. The quantity of content, from film and television to comic books and video games, is staggering, and a testament to the hold he still has over audiences. With the latest Stoker adaptation, The Last Voyage of the Demeter, it’s clear he has yet to take his fangs–er, fingers off the pulse of global pop culture. Being the season of scares, we at Katch looked under the cape at seventeen appearances of Dracula through the decades to ascertain just what keeps us coming back, hungry for more.

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When taking a genomic approach, certain key characteristics rise to the surface, providing further proof of Dracula’s distinctive place within movie history.  What is a “genomic approach?” In short, a genomic analysis involves a detailed and granular accounting of each element or genomic category of a film — Context, Characters, Plot, Cinematography, Music, Mood, Aesthetics, etc. Each category is divided into subcategories, then sub-subcategories, and finally individual genes (over 2500), each of which is individually coded on a 10-point scale by a trained analyst — and then aggregated via a rule-based system into “genomic traits.”

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‍The films used for this analysis include: Nosferatu (1922), Dracula (1931), Son of Dracula (1943), Horror of Dracula (1958), Billy the Kid Versus Dracula (1966), Blacula (1972), The Legend of the 7 Golden Vampires (1974), Nosferatu the Vampyre (1979), The Monster Squad (1987), Bram Stoker's Dracula (1992), Dracula 2000 (2000), Van Helsing (2004), Dracula 3000 (2004), Hotel Transylvania (2012), Dracula Untold (2014), Renfield (2023), and The Last Voyage of the Demeter (2023).

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The context in which these stories are told is quite varied. Of the films analyzed, 29.4% took place in urban environments, while 17.6% each were set in rural or small-town locations, and only one film was a suburban story. The Last Voyage of the Demeter spent most of its runtime in the ocean, and 11.8% were in a fantasy-world setting. Almost half of the stories unfolded in (primarily Eastern) Europe, while another 35.3% were set in the United States, with Renfield, Son of Dracula, and Dracula 2000 being set in New Orleans. 47.1% are pre-modern tales, typically taking place around the late 1800s, with the novel’s initial publication as the accepted canon chronology. Another 41.2% were set at the then-contemporary time of release, the only exceptions being The Legend of the 7 Golden Vampires (1904) and Dracula 3000 (3000).

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When looking at diversity within leads, there was something to be desired. While 41.2% of films had women as leads, only one film, 7 Golden Vampires, could be considered an Asian-driven story. Likewise, only three films — Demeter, Blacula, and Dracula 3000 — have Black actors in leading roles. The films come to more of a consensus regarding character traits. 64.7% tell the story of true heroes, while 70.6% also include villains in leading roles. Interestingly, the villain is not always Dracula, seen in Hotel Transylvania or Dracula Untold, and occasionally Dracula isn’t even a lead. In more recent releases, we tend to see more flawed heroes than in older films, when characters were more distinctly good or evil. Whether hero or villain, a loveable lead could be found 64.7% of the time, and a detestable one 58.8%. The villain in the film, even if it’s Dracula, is not always completely detestable, as can be seen in Blacula, Dracula 2000, and Renfield. However, Dracula 3000 has a lead, Humvee, who is detestable, but is not the villain. Nearly every title had courageous leads, with only Hotel Transylvania and Renfield making use of comedic performances in leading roles.

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Despite the variation between characters, the film’s plots had some overlap. A vast majority, 76.5%, followed the story of a protagonist’s life and times. Of those 76.5%, 23.1% were a story of self-discovery, 30.8% dealt with overcoming life’s obstacles, 46.2% were a tale of mishap and misfortune, and 30.8% confronted moral dilemmas, with some films engaging in more than one of these themes. 41.2% could be classified as adventure stories (Nosferatu, Billy The Kid, Van Helsing, Demeter), nearly all of which had either a fight for survival (7 Golden Vampires, Dracula Untold) or a desperate rescue mission (Billy the Kid, Van Helsing). Nearly every film was a battle between good and evil, and an incredible 70.6% involved violent crime. Exceptions include Dracula Untold, where most violence takes place within wars rather than with criminal intent, and the early films such as Nosferatu or 1931’s Dracula where deaths either took place offscreen or not at all, opting instead to turn them into vampires. Interestingly, 41.2% of titles were tales of the paranormal. That is, they contained fantastical elements in addition to vampires, including Katherine’s fascination with the occult in Son of Dracula, the possession and life-force elements of 7 Golden Vampires, and the overarching premise of The Monster  Squad.

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When looking at the script and storytelling, 29.4% of these titles have dialogue with lots of arguments, with Dracula 2000, 3000, and Renfield also having raw, gritty scripts rife with vulgarity. Conversely, Nosferatu the Vampyre, Bram Stoker’s Dracula, and Dracula Untold have smart, poetic scripts. Only 3 films, 17.6%, used humor to even a moderate degree. This includes The Monster Squad, Hotel Transylvania, and Renfield, the three that stray furthest from the norm tonally, contrasting with the horror and drama of the other titles. A majority are high suspense stories, often involving the death of a protagonist — hero or villain — and having a happy ending 41.2% of the time, though a sad ending does occur in 17.6% of films. Turning our attention behind the camera, 41.2% of these films were helmed by a unique and defining directorial vision. Perhaps most obvious would be that of Murnau or Herzog for their takes on Nosferatu, but Hotel Transylvania would likely be unrecognizable if not directed by animation titan Genndy Tartakovsky. Over half of these films elicited iconic acting performances, more often than not for the role of Dracula, with most also being eccentric performances. It’s not until after the Production Code era that we begin to see the implementation of sexy leads, beginning with Nosferatu the Vampyre and used in Van Helsing with Kate Beckinsale, Dracula 3000 with Erika Eleniak, and Bram Stoker’s Dracula with…well, everyone.

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Regardless of release date, nearly every film showcased at least one visual aspect of production. 64.7% made a dramatic use of color, while 41.2% implemented sophisticated filming and editing techniques as well. 58.8% used elaborate costumes, but only about 35% also had impactful makeup. The musical scores leaned predominantly toward the orchestral, at 70.6%, though only 47.1% of all films used scary or creepy music to a large degree. As one would expect with many vampire films, a dominating 82.4% of titles on this list exuded a dark and gloomy mood, with The Monster Squad and Hotel Transylvania at the bright and uplifting end of the spectrum and Renfield falling in between. Although most of these titles fall into the horror genre, there were some glaring outliers: Billy the Kid Versus Dracula as the only Western, Dracula 3000 the lone sci-fi, and Dracula Untold being a war feature. While 41.2% of titles also share traits common in action films, 35.3% exhibit those more in line with the dramatic, and only Hotel, Renfield, and Monster Squad have a comedic flair. While 35.3% exhibit limited violence, seen only in titles released before 1980, nearly half have harsh depictions of violence and gore, all present from 1987’s Monster Squad onward. As times changed, with the Hays Code repealed and slasher films growing in popularity, so too did vampire films become more violent and gory.

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It’s truly remarkable to see that through over a century of cinema, in Dracula films produced around the world, there are still common threads to be found. Whether they’re as obvious as a similar genre or character or less so, such as with plot themes or emphasis of production, through our analysis we can find something that ties each of these titles together in a bond stronger than blood: Katch data.

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For centuries, dating back to the Middle Ages, witches have been ever-present in art and literature. Portrayed as beautiful, seductive women or hideous, child-eating fiends, or somewhere in-between, from Grimms’ Fairy Tales to Archie Comics, witches have swept away audiences around the world. It makes sense, then, that as film and television became popular these stories would begin to be told at 24 frames-per-second. As part of our multi-piece tribute to Halloween, we at Katch analyzed twenty-five films to determine just what has kept audiences under their spell for so long.

When taking a genomic approach, certain key characteristics rise to the surface, providing further proof of these films’ distinctive place within movie history.  What is a “genomic approach?” In short, a genomic analysis involves a detailed and granular accounting of each element or genomic category of a film — Context, Characters, Plot, Cinematography, Music, Mood, Aesthetics, etc. Each category is divided into subcategories, then sub-subcategories, and finally individual genes (over 2500), each of which is individually coded on a 10-point scale by a trained analyst — and then aggregated via a rule-based system into “genomic traits.”

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The films used for this analysis include: Häxan (1922), The Wizard of Oz (1939), I Married a Witch (1942), Bell, Book and Candle (1958), Black Sunday (1960), Bedknobs and Broomsticks (1971), Suspiria (1977), The Witches of Eastwick (1987), Kiki’s Delivery Service (1989), Teen Witch (1989), The Witches (1990), Hocus Pocus (1993), Sabrina the Teenage Witch (1996), The Craft (1996), Eve’s Bayou (1997), Practical Magic (1998), Halloweentown (1998), Harry Potter and the Sorcerer's Stone (2001), Twitches (2005), Wizards of Waverly Place: The Movie (2009), The Love Witch (2016), The Witch (2016), Mary and the Witch's Flower (2017), The Wretched (2019), and The Pale Door (2020).

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Of these films, 52% are set in the United States, with about half taking place in New England. In addition, 24% are European stories, mostly set in the United Kingdom. In terms of chronology, it was interesting to discover that most films, 84%, opted for a more contemporary setting, usually the present at the time of release, with only Häxan, Black Sunday, The Witch, and The Pale Door being period pieces. Within all titles, 56% focused on middle-class stories, while 24% looked at wealthier sections of society. Only The Witch and Häxan highlighted the struggles of the down-trodden. Although witches are synonymous with Halloween, curiously only three of these films were set on Halloween: Hocus Pocus, Halloweentown, and Twitches.

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Every film is a female-driven story except for Pale Door, and even then women play an important role in the characters of Maria and Pearl. However, a handful of films (Harry Potter, Bell, Book and Candle, Bedknobs and Broomsticks) depict men as also capable of practicing magic. In addition, 20% highlighted the teen/high school experience, as seen in Teen Witch, Hocus Pocus, and The Craft. Only 36% of films cast witches in a negative light, with 44% telling stories of true heroes and 32% being villain’s tales. An overwhelming 84% had leads that were exceedingly likeable, even loveable, with only 28% being detestable, and not all of those 28% are even witches. It’s interesting to note that 64% of films had family-dedicated leads. This extended outside of any group or coven, to the lead’s families for both witches and non-witches alike.

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24% of stories focused on a romantic couple; however, these were exclusively cisgendered, heterosexual relationships with only one gay character (Jake in Pale Door) in any film. While this isn’t surprising for films from a century ago, it’s strange to still see a lack of representation in that realm. The relationship between family members was also a notable aspect of many films. 16% each followed a father or mother’s journey — both in the case of Eve’s Bayou — and 44% told the story of siblings. At face value, this might be obvious for some (Eve’s Bayou, Twitches, Hocus Pocus), but perhaps not so much for others (Bell, Book and Candle, The Wretched, Pale Door) until you see the film.

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A vast majority of films analyzed, 88%, told a story about some aspect of the protagonist’s life. Whether that be a tale of self-discovery (Mary and the Witch’s Flower, Kiki’s Delivery Service), mishap and misfortune (Halloweentown, The Witch), coming of age (Teen Witch, Sabrina), changing course (Practical Magic, Twitches), or others, at least one of these plot elements can be found in nearly every title. Nearly half of these could also be classified as adventure stories, with a quarter depicting a fight for survival (Hocus Pocus, The Wretched, The Pale Door) and 12% each following either a quest (Bedknobs and Broomsticks, Harry Potter) or a rescue mission (Halloweentown, Practical Magic).

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Given the emphasis on familial relationships, it’s no surprise that most films, 60%, tell stories centered around families. While some focus on a family’s reconciliation (Halloweentown, Twitches), 44% told stories of family problems (I Married a Witch, Black Sunday, Waverly Place) and 12% also highlighted their eccentricities (Sabrina, Practical Magic, Halloweentown). In some titles, friendship was just as important to the story, if not more so. They could be childhood/teenage friends (Harry Potter, Teen Witch, Sabrina), an unlikely friendship (Wizard of Oz, Suspiria, The Craft), or even just a squad on a mission (Bedknobs, Halloweentown, Pale Door).

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A classic trope of magic, especially in romantic comedies, is a love potion. As such, no collection of witch films is complete without at least some exploring love and romance. 28% had people falling in love (I Married a Witch, Bell, Book and Candle, and in the case of The Love Witch, multiple people), while 12% engaged in dangerous affairs or tales of love and revenge (Witches of Eastwick, Practical Magic). Eve’s Bayou and The Witch told the stories of relationship troubles, and I Married a Witch went another direction with its almost fairytale-like romance. As these tales unfold, 56% focus on intellectual themes, usually philosophy, spirituality/religion, or ethics and morality, that of which was present in 40% of stories. Only Häxan, The Witches of Eastwick, and The Witch had religion as a defining element in their stories. 24% focused on themes of gender and (exempting Häxan and The Witch)  feminism, as in The Love Witch, Eve’s Bayou, or Practical Magic.

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Though many of these films have plots that involve more at-times adult themes, only The Craft, The Wretched, and Pale Door have raw, gritty scripts saturated with vulgarity. 40% choose to engage in clean/cute humor, and 28% has more situational humor, with some overlap, while The Love Witch and Witches of Eastwick opt for darker, more morbid jokes. 72% have a happy ending, and 56% resolve tidily, with most or all plot threads wrapped up. In terms of acting, nearly half of all films delivered iconic acting performances (Wizard of Oz, Harry Potter, Hocus Pocus) with 40% also being virtuosic (Bedknobs, Eastwick, The Witches). Another 28% were eccentric performances, notably in Hocus Pocus, Eastwick, and The Love Witch.

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It wouldn’t be a film about witches without extravagant aspects of production. Over half made use of elaborate costumes (Häxan, The Love Witch, Hocus Pocus), 40% have impactful makeup applications (Wizard of Oz, Black Sunday), and 44% incorporate elaborate visual effects (Bedknobs, The Craft, Harry Potter). 36% also used color to dramatic effect (Wizard of Oz, Suspiria, The Love Witch), which can also lend itself to sophisticated filming and editing (Häxan, Eve’s Bayou, The Witch). In terms of mood/aesthetic, only about a quarter exhibit dark and gloomy moods (The Craft, The Witch). However, a majority 56% exude bright and uplifting moods (I Married a Witch, Kiki’s, Mary and the Witch’s Flower) with 36% also providing a feeling of wonder (Bedknobs, Teen Witch, Halloweentown). 44% were filled with tension (Suspiria, Black Sunday, The Wretched), which didn’t often show up in the brighter films.

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Unsurprisingly, 68% of films analyzed were fantasy features, with 52% of all titles also being considered stories of the paranormal (The Craft, Bell, Book and Candle, The Wretched). The only film that didn’t fall into either was Eve’s Bayou, which had characters with supernatural gifts in supporting roles, but was more grounded in realistic drama than the fantastic. Only 28% are horror features, with 48% family-oriented, and 32% also being comedies (I Married a Witch, Teen Witch, Hocus Pocus). Even with the more adult-themed films, only 12% exhibit harsh violence and gore (Pale Door, The Witch, Suspiria), with Eve’s Bayou and The Love Witch being the only two that are sexually explicit.

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Though some of these films are separated by nearly a century, created in multiple countries across the globe, there are still commonalities that bind them together, tight as a coven, to continue to spread their magic to audiences decades later. When we look at a film’s traits, we can see how our taste guides us to stories that we’d never think of, or help us understand why we love the types of films we do. It might seem like it, but it’s not witchcraft; it’s just Katch data.

Through the chaos and the haunting screams, a survivor emerges, having triumphed over monsters, whether supernatural or deranged. This is our protagonist, having made her way through hell and back. This is our Final Girl.

The term has evolved, adapting to trends and changes in horror movies. However, it consistently pays homage to the original women who first made it to the end.

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In this analysis, I will explore some of these horror icons to answer the question: what defines a final girl? Is it as simple as surviving? Or something more?

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For this piece, I look at Scream, Halloween, Hellraiser, Nightmare on Elm Street, The Texas Chainsaw Massacre, Alien and You’re Next.

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In classic slasher films featuring Final Girls, such as Halloween, Scream, Nightmare on Elm Street, and even more recent ones like You're Next, the story often unfolds in suburban or rural America. This choice of setting is not coincidental; it is closely tied to the concept of innocence. Almost every film in this genre features a teenage girl as the protagonist, and the idyllic houses and peaceful communities in these locations reinforce the assumption of safety. In general, the setting is intrinsic to the story and the fear created, be it the vastness of space (Alien) or the rural expanse such as You’re Next or Texas Chainsaw.

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The innocence of these Final Girls makes them particularly relatable and likable as characters. For instance, Sydney Prescott in Scream proudly embodies the archetype of the good girl, despite her boyfriend's disapproval. Similarly, Laurie Strode in Halloween spends the holiday babysitting while her friends engage in more reckless activities. Nancy in Nightmare on Elm Street is also portrayed as the quintessential girl next door.

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While their innocence serves as a defining characteristic, so does their perceptiveness. Final Girls often possess a keen eye for detail and are more attuned to potential dangers than others. Their perspective may not be worldly, but it is sharp, and these female characters demonstrate remarkable resourcefulness (Halloween, Alien, You’re Next).

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A true hero cannot exist without a genuine villain. This dichotomy is also reflected in the pairing of lovable and detestable characters, akin to the concept of yin and yang. In nearly half of these stories, the lead female character starts off as naive, unwittingly placing herself in harm's way due to the consequences surrounding her. However, as the fight for survival intensifies, courage emerges, unveiling a boldness that was previously hidden beneath the surface. A common theme is good vs evil, such as the “Boogeyman” concept in Halloween. These are characters facing tremendous incarnations of considerable wickedness.

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During the 1970s and 1980s, the concept of the final girl gained prominence and challenged traditional gender roles. These characters began to embody qualities that defied conventional expectations. They were portrayed as intelligent, resourceful, and determined individuals who relied on their wit and survival instincts (think: Alien or You're Next) to outsmart the antagonist. No longer passive victims, they actively engaged in their survival, becoming proactive participants in their stories.

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These characters often undergo significant character development throughout the film, experiencing a transformation. In these seven movies, each strong female lead goes through a high arc, but it fluctuates, starting strong, and then dropping low as they fight for survival and are relentlessly pursued. Eventually, they rise to a high point, or at least a higher one, depending on how the final sequence plays out. One thing is certain: our courageous female protagonist prevails.

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The definition of a "successful" ending may be subjective, but the data shows that these women all face adversity and, through their resilience, find a way out. These actresses in the films mentioned are iconic in their portrayals, forever connected to these roles that spawned horror movies for years to come.

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These determined females often have a group supporting them, working together towards their goal, but they also face numerous challenges alone. At some point in the film, we witness the final girl standing by herself. In films like Alien, Halloween and You’re Next they are also powerful leaders among the group.

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The experience is fearful, filled with violence and turmoil, creating a dark yet energetic atmosphere bursting with unexpected twists. There is also common usage of deception, some sort of mystery or hidden event that propelled the horror. This is seen in Nightmare on Elm Street, Alien and Hellraiser.

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You're Next serves as an excellent example of a horror movie that keeps both the audience and the final girl guessing. She is repeatedly confronted with plot twists and obstacles, forced to adapt to each new sense of danger. Given that these are horrors, all manner of weapons are used from knives (Halloween) to anything that can be used for defense (You’re Next, Alien). The fight for survival and consistent intense pursuit (The Texas Chainsaw Massacre).

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Outside of the narrative and character traits some of the aesthetics are key.

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What’s also common throughout these pictures is the set design and locales, creating a backdrop for these horrors to be depicted. Brilliant use of special or practical effects is also a valuable component to emphasizing the thrills. Nightmare on Elm Street’s horrifying dreamscape or the ship, the Nostromo in Alien. The creature and villain design are as synonymous with these titles as the final girls are, facing some of the most terrifying imagery one can conjure. The Xenomorphs in Alien are genius in their crafting (acid blood?) and who can deny the effect of a burned man wielding blades for fingers in Nightmare? Or the emotionless terror created by the plain white mask in Halloween. In Hellraiser, this is put lightly, as the evil that is faced are walking, seething creations of agony personified.

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The director of these films (wielded by some of the best in the business like John Carpenter, Tobe Hooper, and Ridley Scott) is a strong collaborator in bringing these legendary females to life.

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The films are often musical statements, featuring memorable scores and motifs like Halloween or stellar soundtracks like You’re Next or Scream.

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Severe violence, gore, and a disturbing overall experience are often imperative for these films. Can anyone forget the bed of blood in Nightmare on Elm Street or the mask made of skin in The Texas Chainsaw Massacre? The death counts in all of these are high and brutal, making these killer endeavors to watch, and especially, to survive.

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What makes a final girl? It’s a collaboration of character and circumstance, of light and dark, and the overcoming of obstacles. But, most importantly: it’s the memorable journey and the undeniable resilience of human nature and the female fight through wit and heroism.

For fifty years, the world has been haunted by the stories of Regan MacNeil, her mother Chris, and Fathers Karras and Merrin in the Exorcist franchise. Spanning five films and a short-lived TV series, Ellen Burstyn returns with a new cast and new possessions  in The Exorcist: Believer. What has compelled audiences to keep coming back so long after the first, most-iconic installment? The power of Christ? Or has Pazuzu been more persuasive? Join us as we take a look at the series’ defining traits. Don’t worry, none of them are in Latin.

Part of what makes possession films so scary is the idea that they could happen to anyone, anywhere. We see that in this franchise, with most films taking place either in Georgetown, the small town of Derati in Kenya, or the fictional Percy, Georgia, with the second film splitting its time across multiple locations. Being religious-themed stories, it’s understandable that they delve into intellectual themes such as faltering faith and morality. Half of the series has women in leading roles, and a majority of films also highlight courageous and loveable characters. However, only two films, The Exorcist and Dominion, have a villain as a lead, personified in Pazuzu possessing a character. In addition to combating demons in other people, The Exorcist III, Beginning, and Dominion all feature leads also facing demons of their own.

As with most stories of horror and exorcism, the Exorcist franchise is rife with mishap and misfortune, while half also incorporate violent crime, particularly murder. Though only Believer reintroduces the original’s themes of family problems and the single parent-child dynamic, all films in between explore tales of psychological distress plus the paranormal battle of good and evil permeating the entire series. With elaborate costumes, makeup, and special effects in at least half of all films, the franchise has created an iconic tone and look, especially for victims of possession, that has been both emulated and lampooned for decades.

In addition to the religious themes and a now-iconic musical motif, the series’ tense, dark, and often disturbing mood, combined with instances of harsh violence in III, Beginning, and Dominion and jump-scares throughout (the best perhaps being in III) make this franchise one of the long-standing pillars of horror. With two more sequels reportedly on the way, it seems no amount of Latin will keep these demons at bay, at least for now.

On September 29, Lionsgate released Saw X, the tenth film in a franchise spanning twenty years. So far, this installment is on track to do as well as its predecessors, boasting opening weekend numbers comparable to the first, with the series collectively grossing nearly $500 million in the United States alone. What keeps audiences coming back for more, all these years later? We here at Katch waded elbow-deep into the sea of gore these films have made famous to sift out the traits that really define them. After all, data is much more than skin-deep.

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Part of what makes these films scary is the idea they could happen anywhere. Setting the films in urban environments of unspecified cities, save for Mexico City in Saw X, presents them as globally plausible; You’d never know if Jigsaw was operating in your downtown. Something that sets Saw apart from other horror titans is that they often eschew traditional linear structure. 30% of the franchise starts from the middle before jumping to the beginning, with 70% employing a flurry of flashbacks.

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Prevalent throughout is the unfolding of intellectual themes, especially ethics, morality, and the concept of being a “good” person. Within said themes comes psychological issues, the distress and manipulation of those forced to play Jigsaw’s “games.” Half of the franchise involves betrayal, either toward or by victims, and 80% explore tales of vengeance.

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The stories told are often those of mishap and misfortune, with moral dilemmas and characters confronting their own deaths, almost invariably becoming fights for survival. 70% of plots follow officers, detectives, or federal agents, though things are never quite what they seem. These are high suspense films, with plot twists and surprise endings that are never happy and more often than not leaving a dead protagonist. Half also end as cliffhangers, leaving you dying to know what lies ahead. Given the nature of these films, it’s no surprise there’s a shocking use of makeup and prosthetics, as well as strikingly filthy sets and a dramatic use of color in most, if not all, titles.

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All of these traits, enhanced by creepy music and disturbing, often surprising moods, have brought this psychological horror franchise to large global audiences, and based on their success, there are quite likely more games to be played. Just make sure you know the rules.

Over the past several years, Netflix has focused a portion of its original content on producing live-action adaptations of beloved anime series. From Death Note (originally a 26-episode series, released as a single film in 2017) to Cowboy Bebop (likewise a 26-episode series, adapted into a 10-episode season in 2021), the results have been shaky at best, facing dismissal from critics and outright derision from the most ardent fans. Their latest venture, 2023’s One Piece, arguably has bigger shoes to fill: the original anime series, which is still ongoing, has an episode count greater than 1,000, and as such has amassed a legion of fans worldwide. But whereas Netflix’s previous shows could be construed as failures, One Piece has been a surprising success, with a second season already greenlit for production.

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So, why did this show succeed where others have failed? For many, the One Piece adaptation never lost sight of its original intentions: the show fully lives up to its roots as a rousing adventure story, following scores of characters around the globe as they race to find a most valuable bounty of pirate treasure, the titular One Piece. The protagonist is a young lad named Monkey D. Luffy, an aspiring pirate who possesses the unusual ability to contort any part of his body into a rubbery weapon. Luffy is soon accompanied by others that will form his ragtag crew, including guileful thief Nami and stoic swordsman Roronoa Zoro, but the show seldom deviates from his Hero’s Journey arc, with Luffy hoping to make a name for himself so he, too, can be known and feared as a notorious pirate, complete with a wanted poster.

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Paired well with the colorful cast of heroes are the virtuosic performances, as each live-action actor successfully embodies their anime counterpart with a spirited panache. The East Blue Sea could also be a major character, as the series scores high in nautical travel, while making various pit stops at several distinct and exotic locales. The constant travel lends the narrative well to classic adventure/treasure hunting yarns, with a common end goal in view for all characters. This has certainly aided One Piece’s acclaim, with memorable characters, eye-popping settings, and a grand notion of adventure that introduce stakes not present in previous live-action anime adaptations.

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Spanning eight hour-long episodes, One Piece covers an understandably miniscule fraction of its source material, but it has already proven enough to entice viewers for further episodes. Several members of Luffy’s rogues gallery of villains make appearances, including diabolical pirate Buggy the Clown, deadly swordsman Warlord Dracule Mihawk, and nefarious fish-man Arlong, keeping the show brimming with exciting encounters amongst a variety of Supporting Characters. And the show has also maintained its cheery sense of humor, keeping the action light and enjoyably paced, most of which is emblematic in Luffy himself, who is never without his trademark perpetual grin and devil-may-care attitude. By keeping things simple and hemming close to the beloved original source, Netflix has finally found a recipe of live-action anime adaptation success.

Human intelligence is the foundation. Artificial intelligence allows us to scale.

Katch has invented a new approach to characterize the inherent make-up of products, content and brand identities. In doing so, Katch has made it possible to apply data science to understand why people choose to consume what they do. Katch employs a genomic methodology to capture the full identity and experience of every entity they code - whether it be a film or a television show, an Instagram reel or a fashion brand. This is called taste-based data.

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Katch has created a platform of interrelated and normalized genomes, each containing more than 2000 individual factors or genes. Each entity is coded across these 2000+ genes by well-trained human analysts following strict coding and QA protocols. These genes are then aggregated into genomic traits across every category in the genome. After hand-coding tens of thousands of films, shows, videos and brands using its proprietary genomes and protocols, Katch is able to utilize this immense data as an invaluable and proprietary training set primed for expansion through the powers of generative AI.

On August 2nd, Paramount Pictures released Teenage Mutant Ninja Turtles: Mutant Mayhem, marking the seventh theatrically released film starring everyone’s favorite heroes in a half-shell. As of this writing, the film has been a success, surpassing $150 million globally and touting a Rotten Tomatoes score of 96%, over double the rating of any earlier title. Is there some sort of lighting in a bottle here that was lacking before? Let’s dive into the data and see for ourselves. Shouting “Cowabunga!” is optional, but encouraged.

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Like a good pizza, the right balance of ingredients can deliver a memorable experience that keeps people coming back for more, and that’s what we have when we look at the franchise as a whole. Typically, they’re family-friendly action-adventures with fantastic and sci-fi elements set in New York City, powered by an active and energetic mood with hand-to-hand combat and situational humor sprinkled throughout like a hearty shake of parmesan. These films also tell the story of siblings, an eccentric family overcoming life’s obstacles together and guided by a powerful leader.

As much as Mutant Mayhem has in common with its predecessors, there are also many traits that set it apart. One of the biggest differences is that the film really emphasizes the “teenage” in TMNT, telling a coming-of-age story of self-discovery, acceptance, and confronting a moral dilemma through an adolescent lens. It’s only one of two films in the theatrical franchise that are completely animated, benefitting from a unique and defining directorial vision and sophisticated filming and editing along with a frenzied, head-spinning script. Another major component, lacking from other installments, is a sophisticated and distinctive techno-based score, whereas the others leaned more orchestral or early 90’s synth, as well as an impactful song-based soundtrack comprised primarily of East Coast rap.

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Though Mutant Mayhem shares many traits with other stories of our favorite pizza-loving reptiles, it might be what it doesn’t share that’s catapulting it to the top of the franchise. By tackling relatable and grounded themes in addition to the typical action/sci-fi fare accompanying their stories, they’ve injected heart into the canon to a degree that hasn’t been done with these characters on screen. In addition, the approach by the filmmakers – a standout animation style, a script loaded with pop-culture references, and a music-rich experience – is sure to cement its success with audiences, both longtime fans and first-time viewers.

Here at Katch, there's nothing we love more than talking about taste. Last month, SVP of Production at Rideback, Ryan Halprin, spoke to Katch University about his career journey. Check out this clip where Ryan talks about his personal taste in movies.

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Christopher Nolan. The name has garnered fame well beyond even the standard cinephile. Over the past 27 years, Nolan has been at the forefront of some of the most visually stunning experiences cinema has to offer.

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His twelve-movie filmography is one of intrigue and wonder that speaks to a wide range of narratives. From a retelling of Batman to a magician’s obsession to a tour of someone else’s dreams, Nolan has consistently pushed the limits of what movies can do.

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With his newest film, Oppenheimer, Nolan tackles new and challenging ground as he attempts to capture the man and his history in thrilling fashion.

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His style is pronounced and his talent formidable, but what is it about his films that grabs the attention of audiences worldwide? What is it about this director that is so immediately recognizable?

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When taking a genomic approach, certain key characteristics rise to the surface, providing further proof of Nolan’s distinctive place within movie history.  What is a “genomic approach”? In short, a genomic analysis involves a detailed and granular accounting of each element or genomic category of a film — Context, Characters, Plot, Cinematography, Music, Mood, Aesthetics, etc. Each category is divided into subcategories, then sub-subcategories, and finally individual genes (over 2500), each of which is individually coded on a 10-point scale by a trained analyst — and then aggregated via a rule-based system into “genomic traits”. The summary here highlights the key genomic finds, principally through genomic traits, of Nolan’s films.

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Wherever Nolan films, there we are.

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While enrichments arrive with aesthetic flair, the Context (setting, chronology, milieu) of his films often take on a life of their own. His films are generally set in the US or the UK, with dips into other countries, such as seen in Inception as the film whisks us away to France or Japan, or to a thrilling marketplace chase in Kenya. As presented, these settings become valued members of his repertoire, important to the narrative itself. Moreover, Nolan often explores the colorful economic intersection of wealthy (like the life of Bruce Wayne in the Dark Knight Trilogy) and middle class characters (the police officers in Insomnia) as a source of narrative interest.

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As witnessed in one of his first hits, Memento, Christoper Nolan loves a contextually-grounded narrative flourish; for example, he incorporates multiple flashbacks throughout the film, and begins it from the midst of the story. Indeed, this contextual use of the “in medias res” technique is a bit of a signature of Nolan films. From the opening scene of Inception or The Prestige, he intrigues with just a piece of the ultimate puzzle. It allows the audience to anticipate the coming thrills and the culmination of his intent. When done well, this is an alluring choice, and Nolan masters the technique.

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A film is nothing without its Characters — a pivotal genomic category. Nolan brings color to his often neutrally-hued plots by populating them with captivating roles: a sympathetic character willing to sacrifice time with his family for the sake of humanity, in Interstellar; a whole host of selfless characters in the harrowing Dunkirk: a lovable lead willing to do anything, including risking being stuck in a dream forever, to get back to his family, in Inception. In Memento, there’s a flawed hero in Leonard. In the Dark Knight trilogy, it can be a question of save yourself or save Gotham? These characters are often courageous and heroic, even beyond their overt superhero portrayals. In fact, everyday heroes are commonly found throughout the majority of the stories he directs.

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There’s a gentle nuance to the coordination of characters that makes up Nolan’s collection of leading roles. With a mix of brilliant (Oppenheimer, Interstellar), psychologically unstable (Memento, Insomnia, Following, The Dark Knight) and powerful leaders (Tenet, Inception) there are some genomic character traits that are staples of his directorial output. Each film is distinguished by a set of character traits that translate into fascinating narrative studies.

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The director then engineers a successful product by casting these colorful roles with genomically-aligned actors who elevate the material. Indeed, Nolan’s films are celebrated for the many  virtuosic performances that dazzle on the screen, culminating in the creation of “iconic” roles: Heath Ledger as Joker; Cillian Murphy as Oppenheimer; Jessica Chastain as Murph; Leonardo DiCaprio as Cobb; etc.

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The many genomically-defined relationship dynamics, rivalries, selfless sacrifices, and battles of good vs evil (including a war with one’s self) found in Nolan’s films make for personalities with varied impetus and marked distinction. They inevitably ask provocative questions: What would you do to win? What would you do for your family?

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A visionary of the highest caliber, Nolan weaves together Plot Narratives — the most surface, but commonly oversimplified genomic category — that are intellectually provocative and that examine morality and ethics through a sober lens. While often having the semblance of the Crime or Science Fiction genres, Adventure  is also a common parallel stylistic mode for the director. A squad is commonly assembled for a challenging task, one that has them fighting for survival while continually overcoming significant obstacles. Nolan’s interests often speak to the technical nuances of science or technology — whether man-made elements of destruction (Oppenheimer) or theoretical endeavors we’ll likely never experience (time-traveling in Tenet, wormholes in Interstellar).

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The Cherry atop the Celluloid

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While a compelling definition of Context, Character, and Plot is notable, it is only by virtue of their cinematic execution  or Realization (script, cinematography, editing, music, etc.) that a director truly displays his or her talents.

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For example, a little Cinematographic sparkle can endow a picture with that extra something that makes it stand out. With Nolan, that “little sparkle” isn’t small at all, but rather involves examples of groundbreaking elaborate FX, sophisticated stunts and immersive camera work that makes you part of the show. To experience his films is to go to space, travel through time, or escape to a comic book come to life. Inception builds entire worlds that look and feel real, inspired by our own dreams of endless creation.  In Tenet and Dunkirk, one built from fiction and the other inspired by real events, we are cinematically transported.  

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Through his frequent collaborator Hans Zimmer, Nolan compliments the visuals of his films with  a dramatic, often triumphant-sounding Score – that in itself brings forth  a world of images and emotions. Together with their impactful sound effects, the sophisticated and distinctive musical scores in Nolan's films bring us soaring into space or racing down a street in a Batmobile, keeping us invested, and activating all of our senses at once for an experience deserving of an IMAX theater near you.

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There’s a distinct language that all renowned directors speak. It’s a hypnotic siren’s call, and if you’re lucky, it’s pure imagination and creativity come to life. Nolan’s films are direction- and character-driven, but what is even rarer, they are musical and cinematographic statements.

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And finally:

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A recipe can be simple enough to follow to make a delicious, winning dessert, but if you miss one key ingredient it can all come to a crumble. Among the main genomic realms that keeps these individual parts to cohesion is the Emotion or Mood that is both displayed and perceptible throughout a film. Nolan balances a dark and gloomy affect along with an active and energetic mood that is tense and surprising when necessary, without losing that rare but welcome feeling  of wonder.

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Movie Magic, right?

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For any film, each genomic element is crucial, and Christopher Nolan's films are no exception. From their lush settings and compelling characters, leading imaginative stories magnified by special effects and sophisticated scores, to their breathtaking cinematography that showcases wondrous worlds, it is no mystery why this man and his unique vision bring us back to the theater every time. From that vision, he has found a balance of genomic traits that have proven to be not only successful, but also inherently and uniquely him.

To date, Paramount has released seven Mission: Impossible films, earning $3.5 billion globally and garnering critical acclaim, averaging 71 on Metacritic and 81% on Rotten Tomatoes, with the latest film - Mission Impossible: Dead Reckoning, Part One – sporting an 81 and 96%, respectively. But it wasn’t always this way. In 1996, the series debuted to tepid reviews, even though it earned the third-highest global box office that year. So what changed? Enter Katch, rappelling from an air duct, to help analyze what led critics to finally see what audiences see.

For 27 years, people have enjoyed these films. They’re high-suspense spy thrillers filled with gunfights, starring Tom Cruise in his iconic role as Ethan Hunt. Brilliant and courageous, he leads his squad on missions often circling themes of moral uncertainty punctuated by instances of betrayal. These are tense and energetic battles showcasing elaborate effects and stunts and for fans of action-thrillers, it’s no wonder this franchise has thrived.

The first three films, however, bring something different to the series. Each with a director known for their unique vision, together they start the franchise with a less-than-cohesive tone, stifling the audience from fully settling in, as there isn’t a consistency to expect. They also feature attractive and sexualized actors. 2 and 3 particularly focus on this, and while there’s still plenty of action, sexy leads and couples’ stories might not fit here as well as in Mr. & Mrs. Smith. These films also feature detestable leads, with the villains having larger roles. As audiences viewed Hunt’s exploits, they were likely less interested in following them, preferring to witness his triumphs.

With Christopher McQuarrie helming Rogue Nation, a consistent tone developed between films, and the stories became more character-driven along with the plot, following the hero’s journey rather than the squad or any villain. Though the IMF is still integral to the missions, we’re seeing more of Ethan’s story unfold, as a leader and a person, giving him a depth that audiences find appealing.

Despite differences within the franchise, every film is a success, as can be seen already with Dead Reckoning, Part One, and audiences will surely flock to its thrilling conclusion, to be released next year.

This section will highlight members of the Katch team! Today, we’re focused on KatchU Internship Program, which kicked off last month.

Katch’s internship program, KatchU, is back! This year the program management team, led by Bianca Mangravite and Alision Armstrong along with the help of Daniel Roginski, processed 227 applications and welcomed a class of 104 Media Genome Interns from over 70 schools around the world.

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Katch’s Genomic Operations team is heavily involved in the training and culture of this ambitious remote program. In fact, almost every member of the GenOps team (aside from Nolan Gasser, Kristy Strouse and Jake Tropila) are members of the KatchU alumni network. In addition to learning how to code film and television and perform quality assurance, interns are given opportunities to hear from leaders in entertainment about how to break into the industry and what it means to succeed in the business. Past speakers include Mark Andrews (Oscar-Winning Director and Head of Story - Brave, Ratatouille, The Incredibles), Barbara Wall (Executive Producer - Dead Ringers series, The Exorcist series) and Patrick Lee (Rotten Tomatoes Founder) to name a few.

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For 28 years, Pixar has created films that have entertained and even defined generations. Their films have earned more than $15 billion worldwide, and with their newest, Elemental, they’ve set out for a repeat success once more.

As we look genomically at this animation powerhouse, can we understand what defining traits of their films might have lent to their storied success?

Throughout their films, Pixar utilizes A Story of a Protagonist's Life & Times, following The Tale of a Flawed Hero or A True Hero’s Story, with leads that are typically Lovable, Courageous, Funny, Sympathetic, and Family-Dedicated.

The films’ plots usually involve A Story of Self-Discovery while Overcoming Life's Obstacles. They are almost always An Adventure Story that can involve The Squad on a Mission toward their ultimate goal. These stories are brought to life through Imaginative & Creative Storytelling from A Tidy and Well-Synthesized Script, sprinkled with Clean / Cute or Situational Humor that always culminates in A Happy Ending and is brought to life with A Unique and Defining Directorial Vision.

Most films have a Sophisticated and Distinctive Musical Score, which is typically Orchestral, that further enhances their Joyful Spirit and Active and Energetic Mood, which allows audiences to walk away with An Inspiring Experience in mind and An Aesthetically Rich Experience at heart.

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Last week, Katch attended Collision Conference, one of the world’s biggest tech conferences, according to Bloomberg. CEO Andrew Tight, VP of Genomic Operations Kristy Strouse, and Head of Marketing Lauren Cortizo flew to Toronto on Monday to make connections with potential investors, partners and technology-focused press outlets.

This section will highlight members of the Katch team! Today, we’re focused on KatchU Internship Program alumni and where they are currently working.

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Sophie Alvarez

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“Katch has helped me tremendously. Its wide network has allowed me to collaborate with people all over the world! While interning at Katch, I gained a deeper understanding of the film and television landscape and learned skills that I continue to use in my daily life. All of my fellow interns were just as passionate about the industry and I know that I will continue to cross paths with them.”

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Rachel Cheung

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“Katch was my first ever internship. It not only offered a great network of like minded, hardworking individuals, but also a stepping stone into the film and television industry that I am so grateful for!"

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Cai Ping Goh

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"I'm Cai Ping, a former assistant at a talent management and production company looking to start working in animation. Katch helped me professionally by teaching me to pay attention to various details in movies, which became applicable when breaking down scripts at work. I also made a great friend, who is now helping me in my job search. Finally, it taught me the value of helping people professionally whenever I can. I once met up with Andrew (Tight) when he was in LA, and when I told him I was learning about optioning a script for my thesis, he showed me a draft of a simple option agreement after which really helped. I interned with Katch in the pandemic, and it was so great to connect with people passionate about film and tv all over the world."

This month Fast X debuted in theaters and so far it has brought in over $520M globally. The Fast & Furious franchise has now surpassed the $7 billion in global box office, making it one of the most lucrative film franchises in history.

Looking at the franchise genomically, what lent to the increased success of each proceeding installment?

• It started with an early shift from A Culture-Focused Story of underground street racing to A Tale of Tested Morality, A Crime Feature and A Tale of Spies and Espionage.

• A continual increase in Sophisticated Stunts and Elaborate Special FX, with larger, more extravagant, Cinematically Lush action sequences.

• An Active and Energetic Mood, extended uses of The Great Chase and The Squad on a Mission with several Courageous Leads culminating in a thrilling and engaging experience.

• A diverse set of leads that has continued to expand with each addition, that include A Female Driven Story, A Black Character Driven Story, and A Family-Dedicated Lead and A Story of Family Life with a defining instance of A Villain’s Tale.

By embracing the traits that made their films more appealing to audiences, and folding broader and more relatable themes into thrilling action, they cracked the recipe for making high-octane films.

Last week was the annual TV of Tomorrow Show at the General Residence in San Francisco. The TVOT Show is an intimate, 2-day event which brings together leaders from across the entertainment industry to discuss the future of television and advertising.

Katch’s Chief Genomic Officer, Nolan Gasser, was invited to speak on a panel about the importance of branding and the potential impact that leveraging well-known IP can have on subscriber growth. Moderated by Jon Giegengack (Hub Entertainment Research) and featuring speakers including Shannon McKenzie (Director of Creative Products and Metadata Services, NBCUniversal) Ashwin Navin (CEO, Samba TV) and Anjali Midha (CEO, Diesel Labs), the panel gave Katch a fantastic opportunity to highlight it’s unique value proposition to a room of fellow c-suite members and key decision makers. Amazing work, Nolan!

CEO, Andrew Tight and COO, John Dicconson also attended the event and made many fruitful connections that may lead to potential partnerships and clients.

This section will highlight members of the Katch team! Today, we’re highlighting our new board members and Senior Advisor.

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Fred Grauer

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Dr. Grauer is Senior Advisor to Course Hero, Credit Sesame, Avalon Acquisition and Katch Entertainment. Fred is also a Board Member of Course Hero and Credit Sesame,and an Advisory Board Member of the Stanford Institute for Economic Policy Research. For nine years, Grauer was the Senior Advisor to Barclays Global Investors and it's acquirer, BlackRock, Inc., after spending fifteen years as the Chairman and Chief Executive Officer of Barclays Global Investors and its predecessors. Previously, Fred was also a senior executive of Well Fargo Bank with varying responsibilities, as member of its Asset-Liability Committee, EVP, head of its Funding Group and CEO of WFIA. A Woodrow Wilson Fellow, Fred has a Ph.D. from Stanford University and was a professor at M.I.T. and Columbia University.

Fred was recognized by Global Custodian Magazine as one of the 100 most important contributors to modern finance in the 20th century and has been featured on the cover of Fortune.

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“Every business wants to understand its customer. Every customer wants to make good decisions. Katch has breakthrough technology, generating content and taste meta-data for superior business and consumer decisions. Katch answers the questions, “What do I want and why?” Katch has an amazing Team of successful, experienced people dedicated to helping sellers understand buyers, and buyers understand themselves. When preferences are understood, choices are more satisfying. Great to be part of the Team. Carpe diem!”

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Drew Lipner

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Drew is the former CEO of InsightExpress (acquired by WPP, 2014), and President of Kantar (acquired by Bain Capital, 2020). During his time with InsightExpress, and later Kantar, Drew was responsible for the development strategy & commercial operations which led to the successful sale of InsightExpress, and growth/profitability of Kantar's digital media division; fastest growing & most profitable division (globally).

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"It is a great honor and pleasure to join Katch at this particular moment of growth, acceleration and innovation. I look forward to applying Katch's unique data and measurement solutions to the Advertising, Media and Content ecosystems. I am grateful for the opportunity to elevate Katch, and to help recognize new opportunities for evolution."

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Sarah Lucas

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Sarah Lucas is an entrepreneur and venture capitalist, a writer and visual storyteller, and a passionate philanthropist based in Silicon Valley and Los Angeles. In her roles as General Partner at Lucas Venture Group and Partner at Celesta Capital, she works with a diverse group of founders and their teams to build transformative companies across a variety of sectors. She has produced documentaries highlighting important social issues and has raised millions of dollars for organizations focused on youth, health, and education and is a fierce advocate for climate justice, equity and a better world.

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“We are delighted to add Katch to the LVG portfolio and look forward to engaging our network and resources to ensure Andrew and the team can focus on building what we know will be a transformative company in the entertainment space and beyond. Using AI to unlock consumer taste is imperative to help brands succeed - and Katch is at the forefront of the race.”

Katch is featured in Richard Bowman and David Boyle’s new book “Prompt for Movies and TV.” Bowman and Boyle have published two original books titled “Prompt for Brands” and “Prompt for Musicians” - both are practical guides on how to utilize ChatGPT to increase efficiency and impact. Their newest book, which was released in mid-April, features a significant contribution from Nolan Gasser about the benefits and the gaps of ChatGPT in regards to understanding the content genome (and why having a human-touch will remain crucial). Katch is not only mentioned in the book, but the Katch logo is also featured on the cover as well.

This quarter, Katch hired new experts in technology, data, start-ups, and entertainment. Katch welcomed four new team members, including Allie Shaffer as Head of Product. She is a three-time founder with experience in media/advertising and EdTech. Paul Childers is the new VP of Sales, and previously led sales efforts for high-tech vendors worldwide. Lauren Cortizo joined as Head of Marketing and has experience in digital marketing and social media. Donovan Bass is supporting Katch with company vision and fundraising efforts. We are now, more than ever, prepared to take Katch to the next level.

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Lauren Cortizo

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Lauren Cortizo is joining Katch as the Head of Marketing. She recently oversaw documentary marketing at Netflix, and prior to that, focused on digital marketing and social media at Disney Studios. She grew up outside of Boston and studied marketing and journalism at Emerson College before she moved to Los Angeles, where she's currently based with her husband Gabe and dog, Hank.

Fun Fact:

I used to be an All-American wrestler. I joined the boys wrestling team in high school as a joke and then loved it.

Favorite Movie:

It's between The Sandlot and 500 Days of Summer.

The Last Television Show You Watched & Loved:

I was obsessed with the Netflix competition show Physical 100.

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Paul Childers

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Paul Childers joined Katch as Vice President of Sales. He recently led sales for Latin America for Whip Media, and has built & launched new OTT and video services, as well as led sales efforts for high-techvendors around the world. Paul grew up in New Mexico before getting his undergraduate degree from Columbia University and MBA from UCLA’s Anderson School. He speaks fluent Spanish and has lived in multiple countries across Latin America & Europe. He currently lives in Denver with his wife Stephanie, son Lawson, daughter Kathryn, and yellow Labrador Mabel.

Fun Fact:

I have been to both the southernmost town (Ushuaia) and the northernmost town (Longyearbyen) in the world.

Favorite Movie:

Pure Country

The Last Television Show You Watched & Loved:

Yellowstone

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Donovan Bass

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Donovan Bass is supporting Katch with articulating the company vision and fundraising efforts. He has spent most of his career working at growth-stage startups and is currently VP of Product & Marketing at Lyte, a live events ecommerce platform that was recently named to Fast Company's Most Innovative Companies. When he's not working, he enjoys traveling and photography; you can see a bit of both at donovanbass.com.

Fun Fact:

I used to drive NASCAR-style stock cars on weekends.

Favorite Movie:

Iron Man or The Princess Bride, impossible to pick just one.

The Last Television Show You Watched & Loved:

Poker Face

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Allie Shaffer

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Allie Shaffer joined Katch as Head of Product. She is a three-time founder and a product and strategy executive with extensive experience in the media/advertising and EdTech industries. She was previously the SVP of Product Strategy at Active International and co-founded The Ad Learning Exchange, a platform and learning community for professional growth in Advertising and Media. Currently based in Seattle, Allie spent a majority of her career in New York City, where she attended Baruch College for business.

Fun Fact:

I became a semi-professional pool player when I was 14 years old and competed until I was 18.

Favorite Movie:

When Harry Met Sally

The Last Television Show You Watched & Loved:

Succession (but I’m also obsessed with singing competition shows like American Idol and The Voice)

This month we started working with our new partner, Warner Bros. Discovery. We're thrilled to establish a long-term partnership with the team as they have exceptional upcoming initiatives in the pipeline.

After our success in transforming our film genome training curriculum into an asynchronous program last Winter, we have now added TV training to our asynchronous training site. In a very short time, over half of our FGAs (Freelance Genomic Analysts) have already passed our internal qualification tests to be able to generate quality TV assessments. As we move ahead with our newest clients, these resources will be critical and are proof that we will be successful training offshore resources to continue to do analysis and deliver quantitative analysis to meet our high standards.