Market revenue growth sunk back to -3% in Q4 from -2% in Q3, with further backbook pricing and lockdown effects to blame .

Backbook pricing will improve with numerous price increases announced, but these will only start to take effect in Q2 2021.

Demand for broadband and ultrafast looks promising, but will also take time to filter through to revenue, with Q1 again lockdown-affected.

This report is free to access.

The Creative Industries accounted for 6% of UK GVA in 2019, more than the automotive, aerospace, life sciences and oil and gas industries combined. The UK’s Creative Industries are the largest in Europe and are central to promoting the UK’s soft power globally.

At the core of the creative economy is the AV sector, which, in turn, is driven by the UK’s PSBs. In 2019, the PSBs were responsible for 61% of primary commissions outside London and are the pillar upon which much additional regional economic activity depends.

Going forward, only the PSBs are likely to have the willingness and scale to invest in production centres outside London with sufficient gravitational pull to reorientate the wider creative economy towards the nations and regions.

Growth in the UK production sector is being driven by increased investment by American streaming services, while local broadcasters rely on co-productions to fund increasingly-expensive, high-end content. 

However, while this investment is welcome, our analysis shows that the output is predominantly less ‘British’ than that commissioned directly by local broadcasters.

Distinctive and diverse British cultural touchpoints are created or perpetuated by television. Current trends suggest a dilution of this, a globalisation of local content, and perhaps less relevance to British viewers.

Despite linear TV viewing benefiting from recent lockdowns, across 2020 it still declined among younger audiences. Online video habits have solidified, most notably for adults in their 30s and 40s

As a result, traditional broadcasters are more vulnerable now than ever before. Long term, we forecast their audiences to fall further than previously expected—down to 61% of all video viewing in 2027 from 72% today—as streaming platforms make ever-deeper inroads

Given linear TV’s reliance on older cohorts, plus an ageing UK population, we predict that two-thirds of traditional broadcasters’ viewing in 2027 will come from over-55s, with less than 13% from under-35s

The value of certain sports rights can be appraised through three major metrics: the ability to command viewing/engagement, the ability to drive subscriptions incremental to other rights, and the propensity of those subscribers to provide the rights holder with additional revenues.

In this report we examine these three metrics in order to gain an understanding of the tensions in the market, along with the reasons as to why there is competition (or not) for certain rights.

Unsurprisingly, outside of a few primary sports rights, there are an abundance of secondary rights which find it difficult to display their value over others. Their value relies just as heavily on whether rights holders are committing to, or retreating from, major rights.

TalkTalk’s latest results were mixed at best, with ARPU and revenue growth improving off a low last quarter, but net adds worsening, EBITDA falling sharply and full year EBITDA guidance suspended.

Its outlook remains challenging, with the move to high speed still a drag on EBITDA, and the migration to ultrafast a further (even greater) challenge, although this brings opportunity as well, especially if the company can move away from its discount brand focus.

Its prospective new owners highlight the need to invest in brand, systems, and full fibre capabilities to meet this challenge, but it is not clear where the money to do this is coming from, and it is also not clear if the desire to ‘reposition the brand’ includes a move upmarket.

Market revenue growth improved to -2%, after the sport-affected -6% last quarter, but was still low by historic standards.

Backbook pricing pressure is still hitting the market, and this will not improve until 2021 at the earliest.

Demand however looks strong; broadband adoption has re-accelerated, and the early signs of ultrafast adoption are encouraging.

The BBC’s licence fee settlement process for 2022 to 2027 is now underway. This time there seems to be greater transparency than the previous negotiations in 2010 and 2015 which led to outcomes that effectively reduced licence fee income by c. 30%

It comes at a pivotal time for the BBC, and by extension the creative community across the UK which it supports. Recovery of this important sector relies heavily on the ability of the BBC to operate in the way that its remit requires: with investment, skills, intellectual property and talent flowing to the wider environment

But with £1.6 billion falling due over the next decade on its pension obligations and its Nations & Regions footprint alone, there is little room for manoeuvre if there are further reductions in revenues or top-slicing. The result will be less investment on the screen and a wound to a struggling sector

In this report, we examine the completion rates of every scripted series since 2018 across all the major UK broadcast channels.

Comparing scripted programmes across different channels by overall viewing is difficult as these numbers are affected by promotion, prominence, competition, the quality of online player UIs and availability.

The rate that series are completed—viewing of the final episode as a proportion of the first episode—eliminates these and allows comparison.

Despite numerous examples of critical acclaim for BBC Three programming over the last couple of years, the evidence suggests that its audience has collapsed since the closure of its linear TV channel in 2016.

Annual viewing minutes of BBC Three programming are down by more than 70% compared to its last year of linear TV broadcasting, and weekly reach amongst its target demographic of 16-34s has fallen by c. 70%—a loss far greater than those of other TV channels.

More difficult to assess are the effects of the shift in content strategy. Comedy programming, for example, proportionally shrank in terms of the total volume available while receiving a greater share of consumption, in direct contrast to factual content’s fate.