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.
With traffic from Facebook and X to news publishers’ destinations in decline, distribution is shifting to other platforms where they have more control, such as feeds served on WhatsApp and newsletters on LinkedIn
There is no one silver bullet platform to replace Facebook, on which certain publishers became overly reliant, or X. News publishers are trying out a myriad of platforms to see which work best for the specific audiences and use-cases they are cultivating
WhatsApp and LinkedIn are still platforms that are mediated for news publishers, so risks remain. These platforms have highly differentiated alignment with the needs of enterprises producing journalism
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.
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
Cord-cutting has become a major headache for US pay-TV operators in the last three years, while cable network channels face further erosion due to cord-shaving and we now see a rapidly growing population of cord-nevering households that have never taken a pay-TV subscription
Should we expect it to be only a matter of time for the UK to follow the US? The short answer is no, due to major differences in the pay-TV market infrastructures of the two countries, which leave the UK much less exposed
However, downward pressures from the online space do exist in both countries, while the big cord-cutting-shaving-nevering threat we now see in the UK has most of all to do with the chill Brexit winds on the economy
Video content is crudely defined. If something is not very short (<10 minutes) then it tends to be considered long-form. But there is a middle ground - one which displays a distinctive combination of characteristics in terms of production, broadcasting and viewing
Mid-form video (between 10 and 20 minutes) has the ability to carry the narrative arcs normally associated with long-form programming, whilst also retaining the snackable and shareable attributes of short-form
The footprint of mid-form is, so far, small. However, it is growing, as its unique qualities, such as excellent ad completion, become more readily recognised