Germany’s RTL+ streaming platform has been revamped into an 'all-in-one' bundle of content including premium sports, music and audiobooks.
RTL wants to leverage its FTA reach to build an online subscription base large enough to influence the future shape of German TV.
To sustain subscriber growth we argue that RTL will need to release defining content and explore partnerships beyond its current deals with telcos.
Despite its scale, YouTube can get overlooked. But its tremendous reach and impact across all demographics make it the internet's universal service provider.
YouTube is still the golden child for creators who want to make a living from their content. For YouTube, this broad base of suppliers ensures a position of strength from which to claim a large revenue share.
Competition from TikTok took some of the shine off YouTube's usage, and forced it promote lower-monetising Shorts. YouTube is pushing heavily into subscriptions, TV sets, and premium content via sports rights to boost the money it makes per minute spent.
As younger viewers continue to migrate from linear TV to online video-sharing platforms, engaging with the audiences on these platforms is no longer simply an opportunity, but a necessity.
However, this ecosystem offers broadcasters limited monetisation opportunities, reduced audience data and worse attribution than the more lucrative broadcast TV model.
In this fragmented media landscape, broadcasters must maximise their digital reach and exploit incremental revenue opportunities, although linear channels and owned-and-operated platforms will continue to provide the bulk of revenues.
We forecast broadcaster viewing to shrink to below half of total video viewing by 2028 (48%)—down from 64% today—as streaming services gain share of long-form viewing time.
On the key advertising battleground of the TV set, broadcasters will still retain scale with a 63% viewing share by 2028, even as SVOD and YouTube double their impact.
Short-form video will continue to displace long-form as video-first apps (e.g. YouTube, Twitch, TikTok) gain further popularity and others (e.g. Facebook, Instagram) continue a relentless pivot to video. This will expand the amount of video watched and transition habits—even amongst older demographics.
This report is free to access.
Climate change is again a core theme of this year’s Media and Telecoms 2023 & Beyond Conference, as it has been since 2021 when the UK hosted COP26.
Published in March 2023, the IPCC's Sixth Assessment Report points to alarming warming trends due to rising greenhouse gas (GHG) emissions. Echoing the messaging of COP26 and COP27, the IPCC implores signatories: “Emissions should be decreasing by now and will need to be cut by almost half by 2030, if warming is to be limited to 1.5°C.” With many governments stymied by short-term political exigencies, it is businesses and people that must harbour the ambition for net zero that our planet requires.
This year’s report highlights the climate change initiatives of TMT companies to decarbonise operations, and their society-leading role towards the environment. Media businesses are mobilising their touchpoints with their audiences—from news, to magazines, to audio-visual productions such as films, TV programmes, games and advertising—to inform and win over hearts and minds in favour of climate action. Case studies of the Guardian, WPP, Ad Net Zero, Bertelsmann, Vivendi, Sky, BT Group, and Virgin Media O2 provide best practice learnings.
The transition from linear to digital and on-demand usage has the potential to unravel national television ecosystems. Global tech monopolists may eventually control the interface and content discovery paths, pushing European providers down the supply chain.
Maintaining cultural sovereignty over the industry’s architecture is a prerequisite of a thriving, pluralistic ‘electronic public square’, as well as a high performing and locally-relevant creative economy.
Only consolidated commercial broadcasters have sufficient scale to steer national markets towards digital models where European content providers retain prominence and their ability to set the popular cultural agenda.
The Warner-Discovery and TF1-M6 merger plans have dramatically pushed consolidation up European commercial television’s agenda.
The first path—heralded by Bertelsmann’s RTL Group—would aim at creating
national broadcasters with the content scale to operate compelling online platforms.
An alternative path revives the never achieved idea of pan-European synergies,
leveraging increased international appetite for non-English language content—but
its champion, Italy’s Mediaset, lacks capacity to deliver.
Advertising income has been the lifeblood of commercial TV for decades, but declining linear audiences—combined with digital video alternatives—mean the TV advertising model must evolve to ensure it remains as potent a medium for brands as ever.
Lack of effective audience measurement and somewhat opaque advertiser/agency/sales house relationships are hampering linear TV advertising revenues. Both issues need resolving to underpin a healthier ecosystem overall.
Flexibility is key to this evolution. A move to audience buys across most linear and BVOD inventory would provide greater flexibility and targeting for advertisers, and would sit alongside some premium context buys. A greater onus on volume deals would give broadcasters more certainty to invest in content and their advertising propositions.
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.
COVID-19 has led to an unprecedented decline in advertiser demand for TV, and while the steepest drop has occurred, broadcasters will feel the impact over a long period of time.
Programming costs are being cut or deferred, but it is not possible—or even sensible—to reduce total programming budgets significantly in the mid-term due to existing contractual commitments.
Increased government support in the form of advertising spend, a loosening of Channel 4's programming obligations—the lifeblood of the independent production sector—and revisions to existing measures (to capture a greater proportion of freelancers) will be required to ensure a flourishing, vibrant sector for the future.