The Creative Industries (CI) are part of the UK’s emerging Industrial Strategy to power up output growth instead of relying mainly on consumer spend. Film & TV production is a prime example of a longstanding and successful industrial strategy that could be widely emulated.
Media’s contribution to economic growth is mainly in the form of a broad regional spread of skilled jobs created by a mixed ecosystem of commercial and not-for-profit entities, such as the BBC PSB Group and Channel 4, alongside 25,000 charities devoted to culture and recreation.
Media adds more than economic value to the UK by uniquely creating (unmeasurable) societal values through cultural products and services, anchoring a common language and identity at home, and conveying a vibrant and inspiring Britain to the world.
ITV's total external revenue is down 8% (to £2,321 million) so far in 2024 with Q3 total advertising revenue flat and Studios continuing to battle tough phasing comparators. Although Q4 advertising is expected to see a YoY decline, Studios will improve with a strong slate of deliveries and greater efficiencies
Advertising has fluctuated significantly across 2024, with 2025 remaining unclear. Digital ad revenue continues to see double digit growth, in line with the overall advancement in streaming hours
ITV is consolidating its disparate strands of streaming viewing on ITVX—where it can be better monetised—but overall growth is being well-outpaced by linear decline
The WSL's new rights deal with Sky and the BBC starting in 2025 is worth 82% more per season than the current deal, and offers the league unprecedented prominence with every game broadcast live.
As Sky Sports seeks to diversify its audiences, the WSL is a logical investment: its audiences are small, but younger and more female-skewing than other competitions.
Free-to-air exposure is essential for the reach of women's football; the BBC and ITV's new deals should fuel continued growth in grassroots participation.
UK football rights values have pulled further away from European peers in a stagnant market, as telcos have withdrawn and tech companies remain selective bidders.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.
As Netflix transitions towards a reporting cadence that omits quarterly subscriber numbers, the focus is on revenue (+15% YoY, to $9.8 billion) and margin (+8ppts YoY, to 30%), which remain buoyant. The company has guided that 2025 revenues will be $43 to $44 billion (+$4 billion YoY), mostly due to subscriber growth
Netflix's advertising-supported tier is dragging its ARPU—however, given its important future growth role, we would expect it to start influencing the direction of the streamer's content slate
Despite its expansion into new genres, Netflix's UK viewing has further narrowed around drama and films: however, live sport, British formats and soaps could move the needle in the future
2023 was a challenge for Channel 4: with the advertising market failing to recover after a difficult start, the unpredictability led to an unexpected YoY drop in content expenditure
In 2024, advertising revenue is expected to be flat, which provides a more stable planning base. Recent volatility has tested the broadcaster’s flexibility and proactiveness, above its competitors who are more insulated
To that end, Channel 4’s process of diversifying its business—the difficulties of 2023 show that it needs to be supported in these endeavours if the sector wants a consistent return of benefits
Broadcasters are accelerating their transformation into digital-first businesses. We estimate that 17% of broadcasters' viewing on the TV set will have been delivered by IP this year.
FTA platforms have a more complex migration pathway to IP than pay-TV. Given the existing strength of DTT, and its older demographic profile, DTT will account for more broadcaster viewing hours than satellite/cable combined by 2029.
By 2040, we estimate that half of all broadcaster viewing will be via IP, with broadcast delivery remaining strong due to the live schedule.
Netflix audiences gravitate towards lean-back, family films and comedies, marking a notable contrast with the kinds of TV shows which get the most viewing.
Films and TV are watched differently on Netflix: films draw more repeat viewing, are more of a communal experience and are highly sought after on weekends.
This explains why Netflix—even without a consistent, broad theatrical strategy—invests heavily in film: it brings in a discrete audience and boosts engagement for most viewers.
A subscription funding model would be antithetical to the BBC’s public service mission, necessarily ending universality of access and undermining its breadth of content.
Options like separating out “public service” content from other programming would result in a decline in news consumption, while the subscription model would risk sustainability and encourage short-term thinking.
Further, there are technical roadblocks to executing this model, meaning that it is not feasible until long after the end of the current Charter in 2027.