Live sport is the most resilient component of broadcast TV, with viewing almost flat as other genres suffer steep declines.
Football has extended its lead as the most-watched sport, amid record Premier League audiences, while cricket has overtaken rugby and tennis for second place.
The reach of sport on pay-TV has remained strong despite consumer spend pressures, further eroding free-to-air’s share of sports viewing.
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The UK charity sector’s role in sustaining the fabric of communities is increasingly important as poverty spreads during the worst cost-of living crisis since the 1970s, at the same time as donations are weaker and costs are rising.
Media play a crucial role in raising the awareness, engagement and donations to charities by individuals, the bedrock of income. Selected case studies of TV, radio and the press show how charities leverage their unique qualities to engage audiences across the UK.
We highlight Gordon Brown’s landmark anti-poverty community-based Multibank initiative, which gifts essentials to those most in need, and has vital support from Sky, the Financial Times and News UK.
The German football league has suspended its media rights auction after protests by DAZN over the award of the top package.
DAZN surprised the market by aiming to become the Bundesliga’s primary broadcaster.
The situation in Germany reveals the contradictory impulses weighing on leagues at rights auctions.
The German football league’s rights tender for its 2025-29 cycle is designed to create competitive tension between Sky and DAZN.
Based on precedents and public statements, we would expect Sky to increase coverage and DAZN to scale it down without a head-on bidding battle.
With low international potential, the Bundesliga can only count on its deep fan base to meet competitive pressure from the Premier League.
As viewing moves online, broadcasters’ on-demand players make up a growing proportion of viewing, becoming central to their future strategies.
However, even though SVOD viewing might have begun to plateau, BVOD growth cannot yet balance the decline of linear broadcast.
Of this shrinking pie, 2023 saw most of the major broadcast players increase their viewing shares.
Public service broadcasters are in a position to plan for the long term with commercial licences renewed for ten years, an updated prominence regime via the Media Bill and a government broadly supportive of the BBC.
With the Premier League and EFL rights secure to the end of the decade, Sky can plan for the future from a position of strength.
Relationships between Sky and the PSBs have improved markedly recently, and as all can now plan for the long-term, this should provide further opportunities to cement relationships for the benefit of the broadcasting ecosystem and viewers.
Dramas from the public service broadcasters based on books consistently bring in bigger audiences than those that are not, a trend driven by certain genres, especially detective mysteries and thrillers.
A greater volume of newer book IP is being developed into programming, but this preference is not necessarily reflected in audience figures.
Younger demographics are less enamoured with dramas based on books than older viewers. There are however notable exceptions, while attracting younger audiences may have more to do with the age, genre, and fame of the IP.
21st Century Fox and Sky plan to notify their proposed merger to the European Commission, perhaps by March, and obtain clearance on competition grounds, as rapidly as in 2010.
The merger could also face, along the lines of 2010, a separate regulatory process in the UK on media plurality grounds, by a decision of Secretary of State Karen Bradley.
If the UK process happens, Ofcom will provide its advice on the merger’s impact on news and current affairs, whose consumption has shifted massively online since 2010.
A lacklustre UK launch of Viceland—the new, multinational linear television channel from youth-skewing, gonzo-esque Vice Media—followed six months after a similarly underwhelming entrance into the US
It is surely early days, but despite strong content, the initial results were predictable, considering the challenges. The response by Vice, that viewing figures are essentially immaterial to its plans, was expected but deviated from earlier, bullish sentiments
Beyond linear viewing, as an intended mass “content generator” to power the greater Vice online network, Viceland may answer a fundamental question: Is Vice and its distinctive content really what the kids want?
Whether the US has reached “Peak TV” —the apogeic volume of original scripted series—is debatable, but the mass of content being produced is unparalleled
As television continues its transition from a disposable medium to a permanent one, and an increasing number of outlets are creating original, scripted programming to keep up or differentiate, does this American explosion have ramifications for the UK consumer or broadcaster?
Simply put, the UK’s more concentrated television landscape limits exposure. And, counter-intuitively, an unsustainable focus on scripted drama could play into the hands of the traditional broadcasters, whose future strength may lie in the diversity of their offering