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.

With a lack of live sport, the lockdown weighed on incumbent pay-TV platforms’ subscriptions. SVOD providers leveraged their cheap positioning—Netflix and Amazon Prime Video now rank above other subscription services in Europe, and Disney+ had a successful launch.

Incumbents—Sky, Canal+, Movistar+—all pursue a twin-track strategy. They are positioning themselves as gatekeepers thanks to service bundles, while redirecting resources away from sports towards original series.

European productions are increasingly garnering audiences outside of their home markets, regardless of the production language. Netflix is a major conduit for European exports, due to personalisation of the interface and high-quality dubbing.

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. 

The COVID-19 crisis and suspension of sport has hit Sky hard, with Q2 revenue falling 12.9% year-on-year, and EBITDA (while flat for now) expected to fall 60% in H2 as the rights costs from a condensed schedule hit the bottom line

Underlying trends are hard to discern amidst massive disruption, but the UK remains strong, and increasingly less dependent on sport, with continental Europe a work in progress to repeat this model

Longer-term initiatives continue, with new branded channel launches in the UK, broadband launched in Italy, and scope for further moves in Germany provided by significant sports rights cost savings following recent auctions

Over the past few months we have outlined the evolving challenges that the pandemic has presented broadcasters—from plummeting ad revenues and production stoppages, to increasing SVOD viewing share

Now, however, is the time to shift thinking towards what can be taken forward from this time. There are strategies that were launched through necessity that will provide continued value beyond this period

The opportunity to reduce cost bases, leverage the greater reach of online services, forge better relationships with advertisers and better understand operational needs and limits presents the potential for more nimble, streetwise businesses

Times Radio launches as an ad-free commercial speech radio service on DAB and online. By extending brand reach, it forms part of the marketing funnel to convert listeners into subscribers.

Radio is remarkably resilient for a traditional mass media, and this arrival will complement the strong commercial sector and the mighty Radio 4.

Timing will be a revenue challenge, but this bold, cost-effective, intelligently deployed experiment comes as the news industry is most at risk, a welcome innovation for readers and listeners—and for the sector.

The COVID-19 crisis is compounding the already grim revenue prospects for upcoming football rights sales in continental Europe.

The financially weakest leagues in Italy and France are especially exposed. Serie A is exploring deals with private equity firms, with the pros and cons finely balanced.

There is a window of opportunity for Sky and Canal+—the adults in the room—to build coalitions with selected clubs to nudge leagues towards needed reforms including longer licence terms, reducing the number of clubs and more equal revenue splits.

Even with lockdown continuing and competition for time still almost non-existent, linear viewing is heading back towards 2019 levels after its big, early boost

The inevitable fatigue around COVID-19 news, along with the growing staleness of the TV schedule caused by content supply struggles, are behind the decline

Unmatched TV set use, made up predominantly of streaming and gaming, has held onto much of its growth, not affected by many of the challenges that linear schedules face. This trend will inform future viewing patterns

Sky posted understandably weak results for Q1, amid the ongoing COVID-19 crisis. Revenue fell by 3.7% year-on-year, with most sports subscriptions on pause and advertising markets in shock

The company has guided to a 60% fall in EBITDA over the next two quarters, as it bears the extra costs of a very condensed sporting schedule, but much will depend on what level of rebate it negotiates from the rightsowners for the disruption

On screen, Sky faces similar production issues to other broadcasters, but it has continued to enhance its platform gatekeeper role and strong content offering, most recently by integrating Disney+