The requirement for accurate audience measurement led to the creation of separate industry JICs— developed by media owners, agencies, advertisers and trade bodies—used for planning and as credible trading currencies.

However, now as brand advertisers need to be able to optimise campaigns across all audiovisual—and ideally all display—they want full cross-media measurement, and are therefore investing in the Origin platform.

But not all ‘views’ are equal; context is important. While most advertisers understand this, there is a risk that some ascribe the same value to all AV. Broadcasters are understandably wary.

Broadcaster reach and viewing fell in 2024, but the decline slowed as BVOD growth increasingly makes up for linear decline and the BBC’s viewing grew year-on-year. 

SVOD penetration and engagement returned to (slight) growth in 2024 and video-sharing platforms are increasing their share of TV set viewing.

Broadcasters still offer a wider array of programming than SVODs, but they are expanding their offering, as is YouTube.

YouTube is now the UK's fifth most-used venue for finding news, and a key focus for UK broadcasters and publishers. They made up a quarter of UK trending news videos in 2023, competing with native YouTubers and US broadcasters

We find that YouTube’s algorithms tend to funnel users from news content towards non-news within a few videos. The reverse trend, of non-news to news content, is almost non-existent

We do not find evidence of widespread brand safety concerns impacting advertising on news videos, though publishers still note YouTube is better for exposure and consumption than it is for generating revenue. The ad load is largely in line with other genres

Use of publisher content to train AI models is hotly contested. Unacknowledged scraping, licensing deals, and lawsuits all characterise the publisher-AI company relationship.

However, model training is not the whole story. More and more products rely on up-to-date access to content, and some are direct competitors to publisher offerings.

Publishers can’t depend on copyright to deliver them the value of their IP. They need to track which products are catching on with users for licensing deals to make sense for them, and to ensure their own products keep up with the competition.

The proposal from DCMS to expand the pre-digital “public interest” regime that requires clearance for changes in the equity stakes in print newspapers to online news publishers lacks a firm rationale in 2024.

A plethora of online sources dilute the influence of news brands and their proprietors over British people’s political views, in particular the platforms (X, YouTube, TikTok and Facebook) hosting self-publishing influencers, politicians and political advertising.

The UK's expanded future regime, if enacted, will further chill the appetite of investors for stakes in commercial media, reduce their value and ability to raise capital, and stifle beneficial consolidation.
 

Under financial stress, most streaming platforms are increasingly focusing on third-party distribution. Thanks to bundling, top streamers like Netflix can increase the lifetime value of subscribers, while smaller streamers widen their reach.

Bundles of streamers may have some potential in the US, but in Europe—with Netflix not interested—they do not have the necessary scale.

This trend towards bundling favours incumbent pay-TV aggregators like Sky and Canal+, but in the longer run they face competition from tech video marketplaces.

UK football rights values have pulled further away from European peers in a stagnant market, as telcos have withdrawn and tech companies remain selective bidders.

Sky and Canal+ have tied down key contracts until towards the end of the decade, while DAZN now has domestic rights for four of the top five European football leagues.

Tech players want live sport, but have distinctive demands and without new monetisation models they will not challenge pay-TV incumbents.

We analysed hundreds of ads on YouTube, the biggest online video platform. Direct response campaigns predominate, especially among finance, ecommerce and technology buyers.

YouTube on TV hosts more brand campaigns with unskippable >30-second ads. In the UK, YouTube viewing on the TV set will grow c.80% by 2030, changing the profile of YouTube advertising.

YouTube generates about 85% of its revenue from ads. We found it also guides user behaviour by ramping up ad load for logged-out users so that they log in.

UK news publishers are experimenting with generative AI to realise newsroom efficiencies. Different businesses see a different balance of risk and reward: some eager locals are already using it for newsgathering and content creation, while quality nationals hold back from reader-facing uses.

Publishers must protect the integrity of their content. Beyond hallucinations, overuse of generative AI carries the longer-term commercial and reputational risk of losing what makes a news product distinctive.

Far less certain is the role of generative AI in delivering the holy grail of higher revenues. New product offerings could be more of an opportunity for businesses that rely on subscribers than those that are ad-supported.

Women’s sport press news coverage during the 2024 Paris Olympics has softened after three years of record-breaking highs, though it remains up 3.8x on 2016 levels

Publications vary in their representation, with populars increasing article numbers faster, though qualities continue to devote more space to women. Success is a key generator of ‘newsworthy’ content

Coverage of women’s sport, despite falling article numbers, is larger and more prominent than before, and the threshold for inclusion continues to fall—signalling wider normalisation of women in sports pages