More than one third of the UK population is over 50 and this cohort is projected to keep growing. They account for substantial wealth, assets and expenditure, and reveal active multimedia engagement, providing real opportunities for brands Given their outsize impact, we believe the marketing industry underappreciates the diversity of habits among the over 50s. While 50-65s’ habits and consumer behaviour increasingly resemble that of younger cohorts, their spending power is far greater; expectations from products and services are higher and yet the placement, format and tone of marketing feels misaligned Online is a huge enabler that can help drive, shape and inform how over 50s spend their substantial wealth. But that can only be done effectively with a clearer understanding of behaviour and level of responsiveness to messages across media, from print to TV to online
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
The Bank’s monetary stimulus will help restore confidence and smooth the economy’s post-referendum transition
If the Bank is right, the economy will avoid a recession and bounce back in Q2 2017
An advertising recession in 2017 still looks likely until the consumer gets his wind back and a growth path emerges
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
Google’s recent product updates and developer conference announcements aim for as many users on as many platforms and devices as possible – a return to strategic form
The company has a dual approach: using Android as a mobile trend-setter while also devising new ways for users and developers on other platforms to use Google services
The reach provided by these initiatives will help Google’s machine learning algorithms to better understand and predict user intent – the cornerstone of the company’s ad business
Online growth has opened up a new window of opportunity for production companies in short and mid form “online-first” content, with the last few years seeing a steady increase in the number of production companies entering this space
So far, persistently low broadcaster online-first budgets and poor financial returns from video distributed online has held back growth of mid and short form video. Instead, the main growth in recent times has come from “brand” commissions
Yet whatever the type of commission and its financial value, short and mid form commissions are eagerly sought after, whether as a potentially lucrative income stream, especially in the case of branded content, or as a calling card for long-form commissions from broadcasters and OTT players such as Netflix and Amazon
The DCMS has published the government’s response to its consultation on the balance of payments between television platforms and public service broadcasters, the so-called issue of retransmission fees
One sure outcome is that Section 73 of the Copyright, Designs and Patent Act (CPDA) 1988, which has hitherto protected cable operators (i.e. Virgin Media) from having to pay retransmission fees, is outmoded and will go
But, we now have a disconnect. The government has stated unequivocally that it expects the continuation of no net carriage payments between the licensed PSBs and the platform operators and may consider legislative changes to ensure this. And yet ITV sees the government response as a welcome first step towards their introduction
UK digital advertising will grow beyond £10 billion by 2018 by our estimates, representing more than half of all advertising spend and delivering the most advanced large advertising market in the world on a per capita basis.
Nevertheless, we see critical issues in digital marketing that are frequently acknowledged, but hard to fix.
At the heart of our hypothesis is the view that the marketing industry – brands, agencies and media – has focused on technology and efficiencies at the expense of consumer experience and distinctiveness.
TV viewing has one reliable, long term trend: programme genres are watched by consumers at predictable life stages and ages
At a high level, there has been little manipulation of the balance of genres being broadcast. But amongst the sub-genres, editorial optimisation has resulted in an uptick in actual viewing
As the core viewing age of linear television rises, there is an opportunity for broadcasters to leverage this to create the most desirable schedule for their available audience by daypart; with genres that transcend demographics when younger viewers tune in