Our annual exploration of the UK's viewing habits - MAY 2019 - Barb
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Our annual exploration of the UK’s viewing habits MAY 2019
bjective information is critical
for the UK’s television and
advertising industry. Each year,
£7.5 billion is spent by broadcasters
and advertisers on the production
and distribution of programme and
commercial content. BARB provides
an independent, joint-industry
currency that is trusted to assess
the return on this investment.
Dealing with audience fragmentation
has been a constant aspect of
BARB’s work since our formation
in 1981. Fragmentation today is
driven by the rise of programmes
and commercials being delivered
online and on-demand.
We constantly develop our
measurement techniques to meet
the needs of the industry with
high-quality data. In recent years
we have developed techniques to
report the use of BVOD services
on TV sets, tablets, PCs and
smartphones; pre-broadcast and
box-set viewing on TV sets and
dynamically-served advertising.
The Viewing Report brings to life
the latest insights from BARB.
We hope you enjoy reading it.
CO N T E N TS INTRODUCTION 5
MEET OUR
CONTRIBUTORS
Kelly Cates
Kelly Cates is a sports
GUEST ESSAYS
6 2018: A year of televisual sporting brilliance
Kelly Cates
HELLO,
broadcaster for Sky Sports
and BBC Radio 5 Live. She brings to 8 H o w a r e m u l t i p l e - s c r e e n d a t a c h a n g i n g t h e
way we plan TV?
life why 2018 was a year of sporting
Emma Moorhead
Welcome to the 2019 edition of The Viewing Service development is a constant for BARB MEDIA CONTEXT
brilliance for British television. Report. and there’s more to do. One of this year’s
priorities is to deliver the next stage of
IS CRUCIAL
Emma Moorhead
10 T h e i m p o r t a n c e o f a j o i n t i n d u s t r y s t a n d a r d
The thread to pick up on in this year’s Project Dovetail, which will provide AND BARB
Becky Marvell
Emma Moorhead is Head introduction is the need for unduplicated unduplicated reach and time spent viewing PROVIDES FULL
of Activation Planning at reporting of who’s watching what. across multiple screens. T R A N S PA R E N C Y
Wavemaker. She lifts the lid on
NEW INSIGHT Broadcasters, advertisers and media
how multiple-screen viewing data agencies want a trusted measure of the We also need to address the rise of
ON THE
are changing the way that media 12 M e a s u r i n g p r e - b r o a d c a s t number of people watching programmes unidentified viewing on the TV set. The PROGRAMME
agencies plan television.
14 D e v i c e s i n t h e T V e c o s y s t e m
and commercials on different services across evidence to hand on page 22 shows this is ENVIRONMENTS
multiple screens. likely to be driven by SVOD services such T H AT
Becky Marvell 18 M o s t - w a t c h e d o n d e v i c e s as Netflix. BARB hasn’t yet cracked how to
Becky Marvell is Head of Trust is imperative to any currency. BARB has report viewing to services that don’t want to COMMERCIALS
Television Strategy for
CENTREFOLD - been delivering an audience measurement be measured; we’re getting closer and hope ARE SEEN IN
the BBC. She makes the case for currency throughout the last four decades, to have more news soon.
why a joint industry standard is THE TOP TENS OF 2018* and we’re pleased to report the industry’s
so important for broadcasters, trust in what we do shone through during a The importance of making progress in this
platforms and talent alike. 20 D e m o g r a p h y o n t h r e e s c r e e n s recent industry-wide consultation. space is highlighted by Becky Marvell of
the BBC, who writes about the challenges
22 T h e g r o w t h o f S V O D s e r v i c e s The consultation focussed on whether we of vying for talent and ideas in a highly-
should extend our services to cover online competitive market. It’s clear that a standard
H O W D O E S D OV E TA I L W O R K? video platforms. Responses from advertisers audience currency is integral to informing
and agencies vindicated our joint industry creative and business decisions.
24 A g r a p h i c i l l u s t r a t i o n o f D o v e t a i l F u s i o n approach to providing an apples-with-apples
comparison of different viewing audiences. And the broadcasters are clearly succeeding.
U P DAT E D I N S I G H T Independence, objectivity and transparency 2018 was a year of particularly big
underpin everything we do. numbers, with high ratings for new dramas
like Bodyguard as well as for returning
25 I n t r o d u c t i o n
Metrics are a fundamental part of entertainment favourites. Impressive as
26 T i m e s h i f t comparability, and the message was plain: these viewing figures were, they were
advertisers and agencies support the overshadowed by ratings for England’s run
27 S h a r e b y g e n r e duration-weighted metrics used by the to the World Cup semi-final in Russia. Kelly
television industry. But comparability isn’t Cates shares a presenter’s perspective on
28 S h a r e b y b r o a d c a s t e r just about equivalent metrics. BARB reports the enduring and vital relationship between
audiences to channels and services that have sport and television.
equivalent responsibilities for the way they
29 T r a i n i n g deliver editorial and commercial content to I hope you enjoy reading this year’s report as
viewers. much as we’ve enjoyed putting it together
30 F i n d o u t m o r e for you.
All in all, the consultation revealed
strong support for BARB. Yet we have to
acknowledge that this support doesn’t always
mitigate frustration at our speed of delivery.
The good news is that 2018 was a year of
delivery for BARB; in September we launched
multiple-screen programme ratings. You’ll
find many examples of these new viewing
figures in this report and, on page 24, an at-a-
glance guide to the Dovetail Fusion method. Justin Sampson
Emma Moorhead of Wavemaker considers Chief Executive
* Please let us know if the centrefold has already the impact of these new data in one of our BARB
b e e n r e m o v e d a n d y o u w o u l d l i k e a n o t h e r. guest essays.
6 K E L LY C A T E S K E L LY C A T E S 7
2018: A YEAR OF
TELEVISUAL SPORTING BRILLIANCE
A certain Liverpool manager is famously viewed by more than a million people across times for England and represented Team GB IN 2018, ALMOST
quoted as saying that while “some people Sky and BT Sport broadcasts. In 2009, that at the Olympics in 2012 – her knowledge of
believe football is a matter of life and figure was only reached by 40 games. the game is phenomenal and can only serve
EVERY MAN,
death… it is much, much more important to enhance our coverage. WOMAN AND
than that.” Many people would no doubt The enduring popularity of the Premier C H I L D W ATC H E D
agree. The plethora of amazing sporting League may not be surprising, but there were In 2018 Sky covered the Netball Superleague, A SPORTING
events that 2018 gave us unquestionably a number of other sporting moments that the World Rugby Women’s Sevens Series,
caused a huge range of emotions for the attracted large audiences throughout 2018. all five women’s golf majors and more. In
BROADCAST –
viewing public. 7.8m people watched some aspect of cricket 2019 Sky will continue its commitment to 97.1% OF THE UK
coverage on Sky Sports Main Event or Sky covering women’s sport including the Ashes, P O P U L AT I O N
The Winter Olympic and Paralympic Games Sports Cricket, for instance. Six Nations, Netball World Cup and Solheim
from South Korea, Commonwealth Games Cup among others. We know that many other
from Australia, Football World Cup from Purists will be pleased to see that nine of broadcasters also play a big role in covering
Russia and Ryder Cup from Paris were among the ten most-watched cricket broadcasts women’s sport.
the special events we were able to enjoy were from the closely-fought Test series
on top of the feast of fantastic sport we between England and India. Alastair Cook, Women’s sport is getting closer to realising
are served every year. Each of these events now Sir Alastair, announcing his retirement that virtuous circle of improving performance
provided wonderfully rich storylines for TV and scoring 147 in his final innings was a leading to increased media coverage and
journalists to capture, comment on or simply wonderful story that you couldn’t help but increased investment, creating increased
marvel at alongside the viewing public. be moved by. As Steve James wrote in The participation and circling back to improving
Times: “It was emotional. Tears were shed. performance. Having female sports
The viewing figures back up the theory that It was like being transported momentarily presenters and pundits is an important part
sport is extremely important to the nation. into another world.” Live sport delivers such of this – I want girls and young women who
In 2018, almost every man, woman and child spectacular moments time and again. see me or Alex on TV to know that this world
watched a sporting broadcast – 97.1% of the can be for them too.
UK population in fact. Virtually all of those Above: 5th Test, The viewing figures are impressive, but to
watched a live sporting broadcast. In a world England v. India return to Bill Shankly’s quote for a moment, Importantly, viewers want to watch. In April,
© Sky Sports / Getty
of ever-expanding choice, where we are told I do believe that while sport, in itself, might more than 1.5m watched England and Wales
Images
that ‘old’ forms of entertainment are being not be a matter of life and death, it can play out a 0-0 draw as part of qualification for
replaced by new ones, it seems that the Left: Netball certainly be a forum for debate about wider the Women’s World Cup in 2019. England and
great British public are still firmly in love with Superleague © Sky issues happening in our lives. There are Scotland have qualified for the tournament
Sports / Getty Images
watching sport – whether it be in the living numerous examples from sporting history, that will be held in France in June this year.
room on the TV set or following via apps such from the Black Power salute of Tommie I for one will be watching the games, and
as Sky Go on PCs, tablets and smartphones. Smith and John Carlos at the 1968 Olympics the viewing figures that accompany them.
to Colin Kaepernick kneeling during the US If the Lionesses can go further than Gareth
Viewing away from the TV set demonstrates national anthem in 2016. Closer to home, Southgate’s team did in 2018, I look forward
the depth of commitment from fans. We saw Raheem Sterling has spoken out about the to seeing some big numbers.
the audience for the Friday morning fourballs treatment that black footballers receive in
at the Ryder Cup rise by 16%, while post-race the media.
coverage of the Mexican Grand Prix increased watching what and how that changes. At Sky,
its audience by 18%. Making sure fans can get for instance, we saw strong figures for our The sporting events that we choose to
access to content when, where and how they Premier League coverage in 2018. Liverpool’s broadcast are important. In this respect,
want is crucial. dramatic victory over Man City back at the it has been wonderful to see increased Kelly Cates, sports
beginning of 2018 was Sky’s most watched coverage of women’s sport from broadcasters broadcaster, Sky
As a broadcaster working for Sky Sports Premier League game of the year, with an and more women in front of the camera. Alex Sports and BBC
and BBC Radio 5 Live, you have to have a average audience of more than 2.2 million. Scott has been a brilliant addition to the Sky Radio 5 Live
keen interest in audience figures; who is In fact, there were 44 live games that were Sports Premier League team. Alex played 1408 EMMA MOORHEAD EMMA MOORHEAD 9
HOW ARE MULTIPLE-SCREEN
DATA CHANGING THE WAY WE PL AN TV?
The media industry is in search of the Holy before they are broadcast. For example, For the two to be comparable, we need to TRUSTED AND
Grail: a single-source measurement of TV 1.15m people chose to watch the second use duration-based measurement for online
viewing across all screens and channels. In episode of Save Me via Sky On Demand pre- viewing. Everything needs to be clearly
ACCO U N TA B L E
2018, we got one step closer to this with the broadcast on TV sets; this was more than half labelled so we aren’t comparing apples and MEASUREMENT
launch of multiple-screen viewing figures, of the total TV set audience of 2.19m. This pears. REMAINS
the first stage of BARB’s Project Dovetail increased throughout the series, with the ESSENTIAL TO
initiative. While these additional data are final episode watched by 83% of people via Meanwhile, addressable television is on
very much welcomed, how do they change Sky On Demand pre-broadcast. the rise but is far from ubiquitous. In order
A C C O U N T A B I L I T Y,
the way we deliver the best outcomes for to realise the long-promised future where PLANNING AND
our clients? Understanding how programmes are television is a more efficient, targeted and O PT I M I S AT I O N
consumed influences how we approach digital-like medium, we need to reach a
Overnight viewing figures have formed the planning. A linear-first approach misses point where content and distribution are
bedrock of how we plan, buy and optimise the opportunity to reach audiences when more vertically integrated. In this future,
television campaigns. The launch of a new the content is at its most valuable; when new measurement opportunities may
campaign goes hand-in-hand with securing it’s providing the watercooler moment. complement the data offered by BARB
a kick-off spot in a top-rating programme to We should instead be moving towards an through the likes of set-top box data. A
reach a mass audience. If a programme over- audience and content-first approach – buying more digital-like television future offers the
or under-performs, next-day negotiations the right programming, at the right time for opportunity to deliver precision at scale.
ensue to secure the desired number of In addition, while it’s well-documented that greatest impact amongst viewers.
exposures. But in recent years, displacement linear television consumption is in decline, Trusted and accurate measurement remains
of viewing has made this task more this is partially compensated for by the The need to re-evaluate our planning essential to accountability, planning and
complicated. growth of BVOD services. The appetite to approach becomes even more prominent optimisation, and increasingly so in a world
consume high-quality content for several when we consider that changes in consumer where we see displacement, fragmentation
Linear television viewing is now regularly hours a day remains, albeit fragmented behaviour are starkest among younger and disruption. Ultimately, we need to
timeshifted. On average, people watch 29.3 across screens. BARB’s new multiple- audiences. Ad-supported YouTube and understand the value that each exposure
daily minutes of television timeshifted, screen viewing data give us insight into SVOD services such as Netflix and Amazon drives for advertisers. The outcomes are
and this timeshifted viewing accounts for how programmes are viewed across TV remain the top challengers to television’s what are important; measurement allows us
an average increase of 15% on a typical sets, PCs, tablets and smartphones. For incumbent media owners. BARB’s measure to link exposure to value.
overnight rating. Sometimes it can be example, in 2018, Love Island gained up to of unidentified viewing – where the TV set
more; the launch episode of Shipwrecked 27% incremental viewing uplift from non-TV is used to do something other than watch The industry must come up with a
on January 28th 2019 was watched live devices, while Family Guy gained up to 8% a BARB-reported channel or BVOD service measurement solution enabling better
by 219,000 people, but the consolidated uplift. Nonetheless, as a whole, non-TV set – includes viewing to SVOD services and understanding of viewing patterns across
7-day figure more than tripled to 685,000. devices add less than 2% to TV set viewing; online platforms. In 2018, unidentified all screens and channels. This is still some
Consolidated ratings used as a proxy for the TV set remains the favoured means of viewing accounted for 48 daily minutes years away, even in the most advanced Emma Moorhead,
reach become progressively difficult to viewing. And despite these additional data for all individuals, rising to 71 minutes for markets. BARB’s Project Dovetail in the Head of Activation
estimate, making the buyer’s job increasingly on device consumption, we remain none the
BARB’S NEW 16-34-year-olds. Greater insight into this UK is setting the example, although we Planning,
complex. wiser as to the incremental reach BVOD can M U LT I P L E - S C R E E N consumption would be very much welcomed. must remain patient before we achieve Wavemaker
offer to a linear television campaign across all V I E W I N G DATA multiple-screen advertising campaign
Some content is still watched live by the screens. GIVE US INSIGHT YouTube has expressed a willingness to performance. Regardless, the JIC principles
majority of its audience, in particular event be part of BARB’s Joint Industry Currency underpinning BARB should not be weakened
programming – think of England in the World Using BVOD to supplement reach is centred in INTO HOW (JIC) model, but in its own words it wants to or compromised.
Cup. BARB data break down the numbers a linear television-first approach to planning. PROGRAMMES ARE be “represented appropriately and fairly”.
watching live or timeshifted within seven or Interestingly, another aspect of BARB’s data VIEWED ACROSS Here remains a fundamental problem with Despite everything, linear television has
28 days, so we can buy the right spot when suggests that alternative approaches could reconciling television and online viewing. sustained advertiser demand, giving the
that live first-look is still the key metric; we’re be sensible to deliver impact in a fragmented
TV SETS, PCS, Television is measured by impacts in units of impression that it is as effective and essential
starting to see greater nuances in how we viewing world. BARB can now measure TA B L E TS A N D 30 seconds, whereas online is measured by as ever, but for how long, and in what balance
plan our television content. viewing to programmes on BVOD services SMARTPHONES impressions with no time exposure element. relative to the alternatives?10 BECKY MARVELL BECKY MARVELL 11
THE IMPORTANCE OF A JOINT
INDUSTRY STANDARD
The big SVOD services’ viewing data have The SVOD services will understandably HAVING ACCESS
long been shrouded in secrecy. But in point to other drivers for their approach
January, Netflix let us take a peek behind to audience data. The data they are
T O T R A N S P A R E N T,
the curtain. Their Q4 earnings release gathering from their own sophisticated user R O B UST DATA I S A
featured the following claims: databases helps inform which programmes C R I T I C A L PA RT O F
to commission and acquire, and how to THE TV INDUSTRY
“In its first four weeks on Netflix, we estimate surface those programmes to a viewer. Their
that Bird Box from director Susanne Bier company valuations and share prices are ECOLOGY IN
will be enjoyed by over 80 million member dependent on growth in subscriber numbers ORDER TO
households, and we are seeing high repeat and ARPU, not the performance of any INFORM ALL OF
viewing.” individual programme. And they’ve been
clear that the act of revealing performance
O U R C R E AT I V E
“A week ago, we launched Sex Education from data is more about hinting at the cultural AND BUSINESS
the UK and it is also tracking to be a huge weight of their programmes – their ‘cultural DECISIONS
hit (estimated over 40 million households metrics’, designed “to allow creatives to
watching the title within the first four weeks).” understand the reach of their work”.
But what should we make of this But for the BBC, and more importantly for the
information? wider UK TV sector, the lack of context and
transparency does matter. The challenge for
Firstly, the numbers stated were forecasts the BBC, and for many other broadcasters Left:
of future performance – typical perhaps for and platforms, is that in an incredibly Fleabag
financial releases, but relatively unheard of in competitive market we are all vying for © BBC
TV ratings measurement. talent and ideas to make the best possible
programmes for our audiences. But if there is transparent, robust data is a critical part of Because of this, the BBC and our peers
Secondly, it wasn’t entirely clear what the no standard, then we are not competing on a the TV industry ecology in order to inform all will continue to rely on a combination
numbers meant. Netflix stated that “for level playing field. of our creative and business decisions. of both BARB’s data and our own array
series, due to their highly variable length, we of data sources. For the BBC, this is our
count a viewer if they substantially complete And how will talent understand how many But whilst a standardised currency is signed-in analytics across all of our online
at least one episode (70%)”. This is not people have seen their programmes, and incredibly valuable, it’s also essential that the services (including iPlayer), our Live+7 and
how the TV industry in the UK has typically who is watching? Without a standard way of standard evolves with audiences’ changing Live+28 reports, as well as our cross-media
measured performance (i.e. the average evaluating the performance of programmes, viewing habits. measurement survey, to name a few. We
audience who watched the show throughout channels and services, it is harder for them look at who is watching a given programme
its run time) and could inflate the series’ to make the right decisions about who to Despite significant progress with BARB’s or channel, but also what they think of the
average figures (because it will not take into work with, how to shape and improve their Project Dovetail, the TV industry still doesn’t programme and the impact it has had on Becky Marvell,
THE CHALLENGE IS account the number of viewers who drop off programmes, and the best ways for them to have a consistent way of measuring total them. Head of Television
T H AT W E A R E A L L during the series). be scheduled and distributed. consumption of a programme across all Strategy, BBC
V Y I N G FO R TA L E N T platforms, over the life of that programme. Of course, it is creativity, not data, that is the
AND IDEAS. BUT And thirdly, releasing data in this way For our commercial peers, where business Our system is still primarily based around lifeblood of the TV industry. As the BBC’s
highlights only the successes. Many of the big models can rely heavily on generating viewing in the first 28 days after a programme Director of TV Charlotte Moore said last year:
IF THERE IS NO global digital companies are selective about advertising income, a standardised currency has broadcast. But as the industry “I don’t believe any amount of data can tell
STA N DA R D , T H E N the information they release. Until they sign is essential to inform advertising prices. experiments with longer availability on VOD you what to commission next”.
WE ARE NOT up for a joint industry standard such as BARB platforms, this is increasingly becoming an
here or work with Nielsen in the US, we – It is this need for a standard that makes anachronism. As much as 60% of viewing of But having a common, shared understanding
COMPETING ON and they - will lack context and a common BARB’s JIC measurement so valuable to the first series of Fleabag (pictured) occurred of what’s working and what isn’t – well, it
A LEVEL PLAYING language to understand these numbers more the BBC, to commercial broadcasters and outside of 28 days of the first TX, through BBC isn’t a bad place to start.
FIELD fully. to the wider TV market. Having access to Three on iPlayer.12 NEW INSIGHT NEW INSIGHT 13
MEASURING SAVE ME (Sky Atlantic)
Average audience (000s)
2,500
On Demand
via TV pre-broadcast
PRE-BROADCAST 2,000
1,500
Live via TV
Timeshift via TV
(excl. Sky On Demand)
On Demand
1,000 via TV post-broadcast
It is clear that UK viewers love having access episode 1’s broadcast, and a further 623,000
to programmes on-demand via the BVOD polishing off the whole series in the days 500
service apps on their devices. Primarily, this before episode 2 went out.
is to catch up on shows they have missed
in the linear schedule; but increasingly, So-called traditional viewing behaviours – of 0
viewers can see future episodes in a series live viewing (almost invisible in these data) Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6
before their linear transmission. and catch-up via timeshift – account for less
Source: BARB 28/02/18 – 02/05/18. Timeshift / On Demand data are 28-day consolidated figures
than 20% of the total.
Series stacking is when an entire series is
made available through a BVOD service, On the BBC, we have another example of how
usually on the day the first episode is box-setting is transforming viewer behaviour.
broadcast. Several UK broadcasters have Killing Eve premiered on BBC1 on September KILLING EVE Episode 6 (BBC 1)
made programming available this way and, 15th 2018, with all episodes available on BBC
with BARB measurement, this provides iPlayer simultaneously. Average audience (000s)
TV Set
opportunities to observe how viewers behave
in an even more on-demand world. Research A snapshot of episode 6 breaks down viewing Tablet
by ITV and Channel 4 in 2018 showed that into pre-broadcast, live and post-broadcast;
11% of people ‘have nothing in mind’ when as well as identifying which devices were PC
they go to BVOD services, a figure that’s more used for each. The inner part of the pie shows
than doubled in two years. Viewers are using more than half of the audience (52%) viewing Smartphone
these services not just to catch up, but to pre-transmission; almost a fifth watching live,
discover new things to watch. and 29% viewing post-broadcast.
92.3%
Crucial to BARB’s ability to identify this Pre-transmission viewing saw the highest use
On-demand and
pre-transmission viewing is broadcaster of non-TV devices, with an average audience timeshift within 28 days*
collaboration by providing audio files that of 812,000 on a PC, tablet or smartphone; the (Oct 20th – Nov 17th 2018)
allow BARB to recognise the programme vast majority (83%) on the bigger two screens
viewed. By December 2018, BARB was and only 136,000 on smartphones.
2.84m 84.2%
tracking over 2,500 non-linear programme On-demand pre-broadcast
audio assets, almost a ten-fold increase in Live viewing was almost entirely on a TV set, (Sept 15th – Oct 19th 2018)
under two years. with only 12,000 watching live on a PC, tablet 5.14m
or smartphone. Devices came back into the
Sky Atlantic’s Save Me illustrates how viewers picture a little more for catching up, although Live viewing
behave when a series box set is available only accounting for around 8% of viewing (Oct 20th 2018)
on-demand. The data are enhanced by there. 1.88m
BARB’s ability to distinguish between post-
transmission timeshifted and on-demand The dominance of TV set viewing - whether BOX-SETTING IS
viewing on TV sets in Sky homes. pre (84% of total), live (99%) or catch-up TRANSFORMING 99.4%
(92%) - is a reminder of how much viewers VIEWER
This chart shows that viewing on-demand prefer the big screen.
makes up 80% of the total to the series. 69% BEHAVIOUR. 69%
of total viewing to episodes 2-6 was before As broadcasters continue to experiment with O F TOTA L V I E W I N G
the live transmission – a proportion that rises box-setting series, it seems certain that we’ll TO SAVE ME
steadily, from 53% to episode 2 to 83% to the see viewing behaviours continue to evolve in
final episode. Separate analysis points to the emerging television ecosystem.
EPISODES 2-6 WAS
some box-set bingeing, with 128,000 people BEFORE THE LIVE Source: BARB, All individuals 4+, average audience
devouring all six episodes the day after TRANSMISSION *Includes VOSDAL and on-demand viewing on day of linear broadcast, and viewing of the linear repeat on October 26th14 NEW INSIGHT NEW INSIGHT 15
DEVICES IN VOLUME OF VIEWING ON NON-TV SET DEVICES
Final episode
of Bodyguard
THE TV ECOSYSTEM
Billion minutes per week
2.0bn World Cup & Vote approving deal
Love Island to leave EU delayed.
Theresa May wins
1.8 no confidence vote
as party leader
Love Love
1.6
v
Island Island
Beast from the East
1.4 I’m a
Smartphones and tablets have become Easter Celebrity
so ubiquitous and so much a part of our
1.2
everyday lives that it’s easy to forget
that it’s only since 2007 (the first iPhone)
and 2010 (the first iPad) that we’ve been 1.0
using these kinds of devices (other brands
are available). And while they have 0.8
had a revolutionary impact on people’s
experience of television, allowing them to 0.6
watch whenever and wherever they want,
BARB data show that time spent with BVOD
0.4
services on PCs, tablets and smartphones
only adds approximately 1.3% to TV set
viewing, and viewing seem to be stabilising 0.2
there.
0.0
The enduring affection that UK viewers have 7 Jan 4 Feb 4 Mar 1 Apr 6 May 3 Jun 1 Jul 5 Aug 2 Sep 7 Oct 4 Nov 2 Dec 30 Dec
for the TV set has been the story of recent Week ending 2018
years, influenced in part by the growing
Source: BARB PC, tablet and smartphone census data, 2018
number of households with smart TV sets –
internet-connected devices featuring BVOD
services, SVOD services and social media
apps. But while viewing on non-TV set devices SHARE OF NON-TV SET VIEWING OVER TIME BY DEVICE
has perhaps turned out to be much less of Smartphone PC Tablet
a revolution than was anticipated by the
industry, these devices remain an important 50%
priority for BARB to report on. A fascinating
source of insight about how people are
adapting to a multi-device television world again took us to the sweltering jungle as we Above: Bodyguard
40
is emerging. hunkered down for the winter. Many would © BBC / World
Pictures
say that it was the football World Cup, one of
The first chart provides a snapshot of viewing the biggest global television events of them
on non-TV set devices, week by week across all, that registered the year’s biggest peaks 30
2018. The peaks along this timeline are a in viewing on non-TV devices (whilst fans of
reminder of those moments when we just Love Island would rightly remind us that it
can’t manage to get home to see events too was running throughout those World Cup 20
unfolding live, or when someone else has weeks). It’s all these kinds of events that can TIME SPENT
got command of the TV set remote control. make our devices particularly irresistible. WITH BVOD
Sometimes it’s been politics (breaking news SERVICES ON PCS,
on Brexit, anyone?), or the weather (Beast Taking a longer-term view back to the 10
from the East) that’s had us grabbing our beginning of 2017, the next chart can show TA B L E TS A N D
devices; it’s also been television’s capacity us the evolution in share of device viewing, SMARTPHONES
to create events of its own making – whether with tablets holding their own since 2017 O N LY A D D S 0
the highly-addictive Love Island (that yet as the device with the highest share; while
again attracted a younger, device-orientated smartphones are steadily taking share from
A P P R O X I M A T E LY Q1 2017 Q2 2017 Q3 2017 Q4 2017 Q1 2018 Q2 2018 Q3 2018 Q4 2018
summer audience in their droves), the final PCs over the same period. It’s well-reported 1.3% TO TV SET Source: BARB PC, tablet and smartphone census data, 2018.
episode of Bodyguard or I’m a Celebrity that that penetration of tablets and VIEWING Note: From Q2 2018, Sky PC viewing is not included in these data. Further analysis shows that this does not impact overall trends observed.16 NEW INSIGHT NEW INSIGHT 17
TELEVISION VIEWING BY TIME OF DAY BY DEVICE
Tablet PC Smartphone TV set
Non-TV set viewing minutes (billions) TV set viewing minutes (billions)
22bn 550bn
20 500
18 450
16 400
14 350
12 300
10 250
8 200
6 150
4 100
2 50
0 0
6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5
Time of day
Note: TV set viewing is plotted on a separate axis to device (smartphone, PC and tablet) viewing.
Data are for identified viewing to BARB-reported channels on TV sets / tagged BVOD services on devices. Device data are census data.
Source: BARB, 2018
smartphones have both plateaued (at high picture of how we turn to different devices at Above: I’m a Celebrity…
SHARE OF NON-TV SET VIEWING BY TIME OF DAY AND DEVICE TYPE levels) in recent years (Ofcom tells us that different times of the day. Tablets account Get Me Out of Here!
© ITV
58% of households have tablets, 78% have for the biggest share of non-TV set device
smartphones), so it appears there’s a subtle viewing at every clock-hour. But the daypart
60%
behaviour change going on, not driven by pattern of viewing on tablets suggests that
device penetration but a simple preference they continue to be devices generally used at
50 for using smartphones rather than PCs for home – gaining the most share before work
Tablet viewing television. The prevalence and (or school) and building share again in the
40 utility of the BVOD service apps, and steadily late afternoon and all the way through the
enlarging smartphone screen sizes, are no evening.
doubt drivers of this.
30 PC Viewing on PCs starts to look like it could
Smartphone So whilst there are some subtle evolutions be a guilty pleasure during working hours,
20 still going on, it seems the overall landscape but then takes a solid share throughout the
for viewing on devices is generally settling evening too when it’s still more popular than
down. The first chart on page 16 reminds us smartphones.
10
that viewing on those devices (combined)
still largely follows the daypart pattern that’s It’s only in the ‘wee small hours’ that
0 been long-established for the TV set, building smartphones gain their peak share of
6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 from late afternoon onwards to the familiar viewing (night workers and insomniacs, WHILST THERE
Time of day evening peak at 21.00. It’s interesting, perhaps) and only between 6am and 8am
though, that device use seems to skew that smartphones take a higher share of
ARE STILL
Source: BARB PC, tablet and smartphone census data, 2018
slightly later in the evening, with 22.00 being device viewing than PCs; for many of us SOME SUBTLE
the second most-watched hour for devices, the first device we come into contact with EVOLUTIONS
compared with 20.00 on TV sets. (Note that on waking. GOING ON,
this chart combines two data-sets using two
different scales on the vertical axes: the 21.00 Generally, then, we’re seeing a picture of THE OVERALL
peak accounting for over 500 billion minutes viewing on devices that’s settling into a LANDSCAPE
on the TV set and just over 6 billion minutes stable pattern – with the TV set continuing FOR VIEWING
on devices.) to account for almost 99% of total viewing
but with devices creating opportunities for
ON DEVICES
Not all devices are the same, though; and must-see incremental viewing at other times I S G E N E R A L LY
the second chart opposite gives us the 2018 and places. SETTLING DOWN18 NEW INSIGHT NEW INSIGHT 19
MOST-WATCHED TOP PROGRAMMES ON DEVICES, RANKED BY PERCENTAGE UPLIFT ON TV SET
P rogramme Average au d i ence – i nd i viduals (000s)
P C S mar t p h one Tab let TV Non-TV Non-TV
ON DEVICES
total uplift
1 Millie Inbetween ( C B B C , 10/ 12/ 18) 7. 0 25. 2 33. 1 104.4 65.4 63%
2 The Dumping Ground ( C B B C , 07/ 12/ 18) 12. 9 48. 2 46. 3 199.0 107.4 54%
3 Love Island: Australia ( ITVB e , 04/ 09/ 18) 17. 6 19. 8 24. 8 135.4 62.2 46%
4 Celebs Go Dating ( E4, 16/ 10/ 18) 58. 3 62. 5 40. 8 569.4 161.7 28%
5 Absolutely Ascot ( ITVB e , 04/ 11/ 18) 11. 7 18. 1 19. 0 180.8 48.9 27%
6 Love Island: The Christmas Reunion ( ITV2, 17/ 12/ 18) 199. 6 200. 3 128. 9 1, 967.4 528.8 27%
7 Sam & Billie Faiers: The Mummy Diaries ( ITVB e , 14/ 11/ 18) 28. 5 30. 7 39. 8 380.5 99.0 26%
When we want to watch an unmissable (although this table is only for programmes 8 The Only Way is Essex ( ITVB e , 21/ 10/ 18) 66. 3 73. 0 70. 4 819.4 209.7 26%
programme but can’t get to our TV set, we broadcast from August 27th; if it was for all of 9 Reported Missing ( B B C 1, 11/ 09/ 18) 35. 8 25. 7 45. 0 421.8 106.4 25%
often turn to other devices. 2018, then Love Island would have claimed
10 Show Me What You're Made Of ( C B B C , 19/ 11/ 18) 2. 5 6. 9 15. 8 110.5 25.2 23%
top spot). These top-ranking programmes for
11 The Inbetweeners ( E4, 30/ 12/ 18) 3. 4 13. 8 7. 7 109.7 24.9 23%
This set of tables takes things down to device viewing were generally big hit series
12 Made in Chelsea ( E4, 15/ 10/ 18) 73. 4 59. 1 49. 2 802.6 181.6 23%
the programme level and identifies those on the TV set too – the top five in this table all
television moments that drive uplifts in added over 400,000 to their TV set audience. 13 Gemma Collins: Diva Espana ( ITVB e , 29/ 08/ 18) 17. 6 21. 0 29. 1 309.5 67.7 22%
audience numbers because people have used A closer look at the broadcast dates reveals 14 Topsy and Tim ( C B e e bi e s , 24/ 12/ 18) 2. 0 7. 8 31. 1 187.1 40.9 22%
their PCs, tablets and smartphones to get the that it’s often the series debut or finale that 15 The Story of Tracy Beaker ( C B B C , 02/ 12/ 18) 2. 1 7. 9 12. 5 104.0 22.5 22%
content they love. drives these big audiences on devices. 16 Weekender: Boat Party ( ITV2, 30/ 10/ 18) 11. 5 13. 3 13. 5 178.5 38.3 21%
17 The Next Step ( C B B C , 28/ 11/ 18) 3. 0 9. 9 12. 9 122.6 25.8 21%
In the first table, we see those programmes While drama series dominate, three very 18 Avengers: Infinity War ( Sky C i n e m a A ct i on & A dv, 25/ 12/ 18) 8. 1 6. 6 17. 3 156.5 32.0 20%
where device viewing has driven the biggest different programmes remind us that must- 19 People Just Do Nothing ( B B C 2, 19/ 11/ 18) 27. 2 29. 9 23. 1 401.6 80.1 20%
percentage uplifts. The analysis sets a see television is when devices come into
20 Made in Chelsea: Croatia ( E4, 27/ 08/ 18) 65. 2 38. 5 53. 6 795.6 157.3 20%
minimum TV set audience of 100,000 but their own: They Shall Not Grow Old, the
includes shows that achieved many more First World War documentary recreated from
TV set viewers – like The Only Way is Essex original footage and shown on Armistice Day;
– and still gained substantial numbers of the Christmas Day edition of Call The Midwife TOP PROGRAMMES ON DEVICES, RANKED BY NON-TV SET AUDIENCE
additional viewers on other devices. Similar and Love Island: The Christmas Reunion
reality entertainment shows had smaller TV (which was a hit on TV sets as well as gaining P rogramme Average au d i ence – i nd i viduals (000s)
set audiences but gained big audience uplifts a big uplift via device viewing). P C S mar t p h one Tab let TV Non-TV Non-TV
from device viewing. total uplift
And such is the reputation of Sir David
1 Bodyguard ( B B C 1, 23/ 09/ 18) 397. 9 160. 9 306. 7 14,335.2 865.5 6%
But taking the top slot in this table, and Attenborough, that the debut episode of
2 Love Island: The Christmas Reunion ( ITV2, 17/ 12/ 18) 199. 6 200. 3 128. 9 1, 967.4 528.8 27%
featuring strongly throughout, are children’s Dynasties commanded over 250,000 viewers
drama series like Millie Inbetween and The on non-TV devices. 3 The Apprentice ( B B C 1, 03/ 10/ 18) 256. 7 111. 9 147. 4 6, 555.1 516.0 8%
Dumping Ground, where, from smaller TV 4 I’m a Celebrity… Get Me Out of Here! ( ITV, 19/ 11/ 18) 223. 1 125. 7 160. 6 12,627.6 509.3 4%
set audiences, device viewing drove big Further analysis (not shown here) gives us 5 The Great British Bake Off ( C h an n e l 4, 23/ 10/ 18) 187. 8 125. 8 113. 9 9, 075.2 427.6 5%
percentage uplifts. Smartphone viewing the top-ranking programmes on each device. 6 Doctor Who ( B B C 1, 07/ 10/ 18) 234. 4 80. 1 110. 5 10,535.0 425.0 4%
was unusually high to these programmes, Bodyguard takes top position on every 7 The Cry ( B B C 1, 21/ 10/ 18) 129. 3 72. 2 159. 7 6, 990.3 361.3 5%
and often exceeded norms on tablets too. device, but all the other top-ranking device- 8 Killing Eve ( B B C 1, 15/ 09/ 18) 161. 1 60. 0 135. 5 5, 423.5 356.7 7%
Recent reports from Ofcom and Childwise led programmes punched above expectations I T ’ S C L E A R T H AT
9 EastEnders ( B B C 1, 09/ 10/ 18) 81. 8 129. 6 117. 9 4, 543.5 329.4 7%
about 5-16s defaulting ever more to devices on particular devices – The Apprentice to PC DIFFERENT 10 Mrs Wilson ( B B C 1, 11/ 12/ 18) 83. 2 50. 5 158. 6 7, 221.6 292.3 4%
and away from the TV set would support this (seems appropriate); I’m a Celebrity and The DEVICES SUIT 11 Louis Theroux's Altered States: Love Without Limits
observation. Cry to tablet; and Love Island: The Christmas
Reunion to smartphone.
DIFFERENT ( B B C 2, 04/ 11/ 18) 150. 0 47. 8 80. 1 2, 438.2 277.9 11%
Special mention has to go to Avengers: AUDIENCES, 12 They Shall Not Grow Old ( B B C 2, 11/ 11/ 18) 135. 6 36. 4 80. 7 3, 653.0 252.7 7%
Infinity War, which added 20% to its So, it’s clear that different devices suit GENRES AND 13 Dynasties ( B B C 1, 11/ 11/ 18) 150. 2 34. 8 65. 5 7, 384.4 250.5 3%
Christmas Day TV set audience with viewing different audiences, genres and programmes, PROGRAMMES, 14 The Only Way is Essex ( ITVB e , 30/ 09/ 18) 73. 1 80. 1 73. 9 915.1 227.1 25%
on devices. Marvel superheroes not to and markedly different behaviour patterns 15 Call The Midwife ( B B C 1, 25/ 12/ 18) 47. 1 40. 9 135. 1 8, 718.2 223.2 3%
everyone’s taste at Christmas, perhaps. may emerge over time. Fortunately, BARB A N D M A R K E D LY 16 The Little Drummer Girl ( B B C 1, 28/ 10/ 18) 101. 7 25. 7 94. 1 6, 588.0 221.5 3%
data will allow us to keep an eye on it all. DIFFERENT 17 Wanderlust ( B B C 1, 04/ 09/ 18) 73. 1 39. 8 101. 4 3, 900.9 214.3 5%
The second table shows the programmes BEHAVIOUR 18 Informer ( B B C 1, 16/ 11/ 18) 81. 6 44. 4 80. 1 4, 333.2 206.2 5%
that achieved the biggest absolute audiences
on non-TV set devices. Top slot goes to the
PA T T E R N S M A Y 19 Have I Got News For You ( B B C 1, 12/ 10/ 18) 101. 6 33. 7 66. 7 4, 720.7 201.9 4%
finale of Bodyguard, which added 865,500 EMERGE OVER 20 Celebs Go Dating ( E4, 14/ 10/ 18) 71. 7 78. 6 49. 7 811.6 200.0 25%
to its whopping TV set audience of over 14m TIME
Source: BARB 27/08/18 - 31/12/18 Note: Data are for programmes with a minimum duration of 15 minutes and TV set audience of 100k+
Only the top programme per programme title is included. TV set data include SD, HD and +1 where relevant.20 NEW INSIGHT ONLINE TV VIEWING NEW INSIGHT 21
DEMOGRAPHY ON I'M A CELEBRITY...GET ME OUT OF HERE! (ITV, 19/11/18) AGE PROFILE BY DEVICE
4-15 16-24 25-34 35-44 45-54 55-64 65+
THREE SCREENS TV
Tablet
PC
0 10 20 30 40 50 60 70 80 90 100%
Since September 2018, BARB has reported across the age range, as we can see from
programme average audiences for the the TV set viewing profile. The age profile
most commonly-used demographics by of viewing on tablets and PCs is broad too,
THE GREAT BRITISH BAKE OFF (CHANNEL 4, 28/08/18) AGE PROFILE BY DEVICE
combining two data sources: device- but with noticeably smaller proportions of
based census data from BVOD services the youngest (aged 4-15) and older (55 and 4-15 16-24 25-34 35-44 45-54 55-64 65+
showing the number of PCs, tablets and over) viewers. PC and tablet viewing are
smartphones used to watch programmes; particularly concentrated in the 16-34 age TV
and BARB panel data that tell us the number group; with 16-24s accounting for a huge
of people watching and who they are. 27.8% of viewing on PCs, almost three times Tablet
the proportion that they comprise of the
TV set viewing audience. Bake Off provides PC
The combination of these two sources
enables the production of multiple- a welcome break from studying or work, 100%
0 10 20 30 40 50 60 70 80 90
screen viewing figures, with demographic perhaps. The next age cohort of 25-34s are a
information available for PCs and big chunk of device viewing too, accounting
tablets. BARB doesn’t yet produce panel for 29.1% of tablet viewing to this show and
measurement of viewing on smartphones. over 26% of viewing on PCs.
TASKMASTER (DAVE, 07/11/18) GENDER PROFILE BY DEVICE
The first chart shows us the age profile of Meanwhile, the final episode of the BBC’s
three-screen viewing to the second episode political drama Bodyguard drew a TV set
Women Men Women Men Women Men
of the 2018 series of I’m a Celebrity… Get audience, perhaps not surprisingly, skewed
Me Out of Here!, one of ITV’s biggest shows strongly to the ABC1 social grade (67% of the 44% TV 52% 59% Tablet 37% 58% PC 40%
for the 16-34 audience. Here we see a broad total). The audience viewing on PC was even
age profile for the audience watching on TV more upscale, with ABC1s accounting for 89%
sets. But if we consider device viewing as a of the total. In contrast, viewing to this show Children 4-15 Children 4-15 Children 4-15
mark of an audience’s passion for a show, on tablets, while still biased to ABC1, was a 4% 4% 2%
it looks like the passion for I’m a Celebrity little more evenly spread.
wanes around the age of 55. Those aged 55
and over comprise over 32% of the TV set But if the social grade of Bodyguard’s
viewing audience, but only tiny proportions audience conforms to expectations, it might BODYGUARD (BBC1, 23/09/18) SOCIAL GRADE BY DEVICE
of the tablet (6.5%) and PC (4.2%) audiences. be a surprise to see the gender profile of
While viewers aged 16-44 account for a device viewing to Taskmaster on UKTV’s
SINCE SEPTEMBER Adults ABC1 Adults C2DE
big share of I’m a Celebrity’s audience on Dave. The gender split of TV set viewing to 2018, BARB 100%
devices, it seems the show has remarkable this show gives us a predictable skew to men HAS REPORTED
appeal to the 45-54 age range: comprising a – 52% of the audience. But women account PROGRAMME 80
whopping 37.2% of its PC-viewing audience for 59% of viewing on tablets and 58% of
and a chunky 28.4% of the tablet audience. viewing on PCs. So Taskmaster’s not as
AVERAGE
That looks like a really motivated audience – blokey as you might have thought, or maybe AUDIENCES 60
closer in age to celebrities John Barrowman Greg Davies and his crew have a female fan- FOR THE MOST
(52) and Nick Knowles (56) than winner Harry base that’s taking (secretly?) to tablets and C O M M O N LY- U S E D 40
Redknapp (72) or runner-up Emily Atack (29). PCs to follow the show.
DEMOGRAPHICS BY
The following chart illustrates the age COMBINING TWO 20
profile of three-screen viewing to the launch DATA S O U R C E S :
episode of the latest series of The Great 0
British Bake Off, C4’s highest-rating broadcast
DEVICE-BASED TV Tablet PC
show and also one of its biggest deliverers C E N S US DATA A N D
of 16-34 audiences. It has broad appeal B A R B PA N E L D A T A Source: BARB, profiles calculated on live and 7-day consolidated viewing for each programme22 NEW INSIGHT ONLINE TV VIEWING NEW INSIGHT 23
THE GROWTH OF SVOD HOUSEHOLDS
Any SVOD
Number of homes (millions)
Netflix Amazon Now TV Two+ services
Year-on-year change
SVOD SERVICES
Q4 2017 v Q4 2018
14
+20%
12
+26%
10
8
The fragmentation of the media landscape likely than the UK average to subscribe to an 6 +24%
is far from a new concept, but the growing SVOD service.
competition for viewers’ time is increasingly +32%
4
evident. In 2018, time spent on unidentified By contrast, households with three or more
viewing – where the TV set was used to people, which are more than 2.5 times more
2
do something other than watch a BARB- likely to have children present, are 47% +5%
reported channel or on-demand service more likely to subscribe to one of the three
– increased to 20% of all TV set activity, main SVOD services than the UK average. 0
up from 17% in the preceding 12 months. These multi-person households could also Q2 2014 Q4 2014 Q2 2015 Q4 2015 Q2 2016 Q4 2016 Q2 2017 Q4 2017 Q2 2018 Q4 2018
That is a rise from 41 to 48 minutes a day on be occupied by young people. We know that Source: BARB Establishment Survey
average. 16-24-year-olds are 70% more likely than
the UK average to have access to an SVOD
What is driving this growth in unidentified service. This age group’s daily unidentified
viewing? As the name suggests, we can’t be viewing in 2018 was 65 minutes.
certain, but we do have a growing body of
HOUSEHOLD COMPOSITION
evidence that points to SVOD services being a It’s important to bear in mind that Now TV Netflix Amazon
primary catalyst. unidentified viewing is still a fifth of the
time spent with the TV set, and not all
One angle of investigation is to compare unidentified viewing is to SVOD services; it
unidentified viewing with SVOD penetration also includes games playing on consoles Household size: 5+
figures from our Establishment Survey, and watching programming more than 28
which has included a question about SVOD days after broadcast. However, it’s clear that
subscriptions since 2014. Plotting the SVOD services are very likely to account for a
number of SVOD homes against the average significant proportion of this viewing.
quarterly levels of unidentified viewing shows Household size: 4
a strong correlation between the two: an We recognise the industry’s desire to unpack
R2 of 0.95. unidentified viewing, regardless of whether
the service provider wants to be measured
Establishment Survey data also tell us that by BARB. This is why we are investigating
12.3 million homes in the UK had at least one the use of router meters in panel homes as
Household size: 3
of Netflix, Amazon Prime Video or Now TV a potential solution for identifying SVOD
in Q4 2018 – a year-on-year increase of 20%. viewing. We are testing two router meter
Netflix is the main driver of this increase, solutions, with the aim of providing the best IN 2018,
having added 2.2 million homes compared to possible view of the television ecosystem UNIDENTIFIED
Q4 2017. Amazon too has shown impressive in which SVOD services are so very clearly
growth, adding more than a million homes, already a part. Keep an eye on the BARB
VIEWING Household size: 2
while Now TV has added just under 100,000. website for further updates. INCREASED TO
We have also seen the number of homes with 20% OF ALL TV
two or more services rise by 32% from 3.26 To read BARB’s recent SVOD report with SET ACTIVITY;
million to 4.3 million in the past year. further analysis, visit: www.barb.co.uk/
trend-spotting/the-svod-report/ SVOD SERVICES Household size: 1
We can also find out more about the kinds of A R E V E R Y L I K E LY
households that are likely to subscribe to an To see the latest data on SVOD household TO ACCOUNT FOR
SVOD service from the Establishment Survey subscriptions, visit: www.barb.co.uk/ 0 20 40 60 80 100 120 140 160 180 200
data. Looking at household size, we can see tv-landscape-reports/tracker-svod/
A SIGNIFICANT
Index vs UK (100 = average)
that one or two-person households - 72% of PROPORTION OF
which have adults aged 55+ present – are less THIS Source: BARB Establishment Survey Q4 201824 D OV E TA I L F US I O N U P DAT E D I N S I G H T 25
DOVETAIL FUSION TREND
A N I L LUST RAT E D G U I D E 1 SPOTTING
1
SOURCE A SOURCE B
CO L L E C T D ATA F R O M O U R BARB DEVICE-BASED
TWO SOURCES PA N E L CENSUS DATA
S O U R C E A BAR B PA N EL
5,300 nationally-representative UK households. Every year in The Viewing Report, BARB examines UK television
Meters track viewing on TV sets, tablets and PCs. viewing behaviour in the previous year from three key angles:
Information provided: AVERAGE Timeshift – how much timeshifted television did UK viewers
Who is watching (demographic profiles) PEOPLE- PROGRAMME watch? When and why did timeshifted viewing peak and dip?
How many people watching: viewers-per-view BASED DATA STREAMS Which genre was the most timeshifted? And which
(INC. VIEWERS
Programmes watched demographic and region were responsible for the most
Device used
PER VIEW)
A P P LY T O 2 timeshifted viewing?
Output: People-based data hare by genre – How did the genres rank by share of total TV
S
viewing? Which genres saw significant increases or decreases
S O U R C E B D E VIC E- B A S ED C EN S US DATA in their share, and why?
Collected whenever anyone in the UK watches TV
via a BVOD service on a PC, tablet or smartphone. hare by broadcaster – How did the major broadcaster
S
groups rank by share of audience? Which of their channels
A L L- I N D I V I D UA LS
Information provided: FIGURE had the highest share?
Programmes watched
Duration watched Over the next three pages, we’ll find out the answers to these
Device used questions for 2018 viewing.
Output: Average programme streams (device data) For further updates on viewing trends, check out the Trendspotting
3 tab on the BARB website, which features quarterly trackers of metrics
2 CO N V E RT D E V I C E D ATA TO
A L L- I N D I V I D U A LS F I G U R E SUFFICIENT
SAMPLE
F R O M PA N E L?
INSUFFICIENT
SAMPLE
F R O M PA N E L?
such as device access, SVOD households and UK households by TV
platform.
Source viewers-per-view factor from the panel,
which shows the extent of joint viewing for
different programme types and devices ALGORITHM FINDS
OTHER SIMILAR
Viewers-per-view factor applied to device data VIEWING OCCASIONS
3 A P P LY D E M O G R A P H I C P R O F I L E S TO
A L L- I N D I V I D U A LS F I G U R E (PC/tablet only) SUFFICIENT
SAMPLE
Check which BARB panel members have viewed
DEMOGRAPHIC
a programme on their PC/tablet PROFILE
Sufficient sample? Demographic profile applied APPLIED
Insufficient sample? Algorithm finds other
similar viewing occasions to generate sufficient
sample. Demographic profile applied
4
4 R E S U LT : M U LT I P L E - S C R E E N
VIEWING FIGURES
Average audience for every programme on TVs,
PCs, tablets and smartphones each day
M U LT I P L E - S C R E E N
Demography of viewing on TVs, PCs and tablets
VIEWING FIGURES26 TIMESHIFT SHARE BY GENRE 27
WE CONTINUE TO WATCH MORE TIMESHIFTED TELEVISION THE GENRE RANKINGS
WE CONTINUE TO WATCH MORE TIMESHIFTED TELEVISION Trend in % share of audience, 2008–2018
18% Percentage
Percentage share
share of
of audience,
audience, 2018
2018
In 2018, sport enjoyed its bi-
18% Entertainment
Entertainment 19.2%
19.2% annual upswing to claim 8.6% of
15 THE GENRE RANKINGS
viewing – 1.5 percentage points
Average Trend in %Drama
share of audience, 2008–2018
Drama 16.2%
16.2% higher than 2017. This was the
15 (series+soaps+single
(series+soaps+single plays)
plays)
12 7-day timeshift biggest year-on-year gain for any
Average
viewing in 2018 Documentaries
Percentage share of audience, 2018
14.2% genre in terms of share. However,
Documentaries 14.2%
15.2%
12 7-day timeshift Entertainment 19.2% in spite of England’s strong
9 viewing in 2018
News/weather 10.2% World Cup performance, victory
15.2%
Summer drops News/weather 10.2%
9 Drama 16.2% for Europe at the Ryder Cup and
6 Summer drops up 0.9 percentage points (series+soaps+single plays)
Sport a Winter Olympics, this high was
Sport 8.6%
8.6%
on 2017, the biggest Documentaries 14.2% lower than the share achieved
6 up 0.9 percentage points
year-on-year increase Films 8.3% by sport in other even-numbered
3 on 2017, the biggest Films 8.3%
since 2014 News/weather
(cinema+TV+other)
(cinema+TV+other) 10.2% years in the last decade.
year-on-year increase
3
0 since 2014 Hobbies/leisure
Hobbies/leisure 7.7%
7.7% Entertainment enjoyed its
Sport 8.6%
2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 highest share in a decade to
0 4.2%
4.2% take 19.2% of viewing. 2018
2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 Films 8.3%
did not diminish the appeal of
(cinema+TV+other)
Having grown more slowly in 2016 and 2017, timeshifted In a year in which England performed well at a summer football Children's
Children's 3.7%
3.7% I’m a Celebrity, Strictly Come
viewing increased by 0.9 percentage points in 2018, the highest tournament, we saw a sharper downturn in timeshifted viewing Hobbies/leisure 7.7% Dancing or Britain’s Got Talent,
growth in four years. This growth is likely driven by increased during the summer months than in odd-numbered years. Music
Music 0.7%
0.7% among others. Viewers devoted
use of BVOD services. 4.2% a little less time to news and
Religious
Religious 0.2% current affairs as a news agenda
0.2%
Children's 3.7% dominated by President Trump
TIMESHIFTING BY... Arts
Arts 0.2%
0.2%
and Brexit took its toll. Children’s
Music 0.7% programming continued to shed
TIMESHIFTING BY...
Genre Demographics Region share – losing a further 0.4% to
Education
Education 0.0%
0.0%
Genre Demographics sit at 3.7% of viewing.
Drama All individuals South & South East Region Religious 0.2%
Education Children 4-15 West
Drama
Documentaries All individuals South & South
East East
of England
Education Children 4-15 West
Arts 0.2%
Arts Adults 16+ ABC1 London
Documentaries
Films Adults 16+ C2DE EastSouth
of England
West SPORTS STATS
Arts
Entertainment Adults 16+ 16-24
Adults ABC1 London
UK average Education
In an even-numbered year, major sporting events attracted significant audiences
0.0%
Films
Music Adults 16+ 25-34
Adults C2DE South
NorthWest
East
Entertainment
Children’s Adults
Adults 16-24
35-44 UKMidlands
average
Music
Hobbies/Leisure Adults 45-54
Adults 25-34 North East
Scotland
Winter
Sports Olympics
fans were treated to a hearty diet in 2018, as Kelly
The Cates
Winter Winter Olympics
Olympics from PyeongChang,
skewed significantlyalsoolder,
reached a significant
while
discusses on pages 6-7 of this report. The World Cup in
Children’s
Sport Adults 35-44 Midlands
Wales reached* the World Cup had a more even social class profile the broad
Russia number of viewers. Below we take a look at some of
Adults 55+ SPORTS STATS
44.1m
Hobbies/Leisure Adults 45-54 Scotland clearly delivered large audiences, but a less heralded event, The differences between the two groups of viewers.
Religious Yorkshire Viewer index
index (against total
total universe)
Sport Adults 55+
Men 16+ NorthWales
West In an even-numbered year, major sporting events
Viewer attracted
(against significant audiences
universe)
Religious
News/Weather Women 16+ Yorkshire
Border 30
30
Menkids
16+ NorthUlster
West
Party Political Broadcast
News/Weather
Houseperson with
Border
Winter Olympics The Winter Olympics skewed significantly older, while
20
20
Women 16+
Party Political Broadcast 0 reached* the World Cup had a more even social class profile
10
5 10 15 20 25 30 35% Houseperson with kids 0 Ulster0 5 10 15 20%
World Cup reached* 10
44.1m
5 10 15 20 25%
53.1m
Viewer
00 index (against total universe)
0 5 10 15 20 25 30 35% Percentage of 7-day timeshift
0 5viewing,
10 15201820 25% 0 5 10 15 20% -10
-10
Source: BARB Percentage of 7-day timeshift viewing, 2018 30
-20
-20
20
-30
-30
Source: BARB 10
In 2018, drama increased its lead as the most timeshifted genre, regions doing the most timeshifted viewing. Interestingly, those
World Cup reached* -40
-40
53.1m
** All
All individuals
individuals aged
aged 4+
4+ that
that viewed
viewed for
for
0 Children
Children Adults
Adults Adults
Adults Adults
Adults Inds
Inds Inds
Inds Inds
Inds
with 31% of viewing timeshifted. Adults 25-34 and those in in the South West moved ahead of the national average for at
at least
least three
three consecutive
consecutive minutes
minutes -10 16-34
16-34 35-54
35-54 55+
55+ ABC1
ABC1 C2
C2 DE
DE
the South & South East continued to be the demographic and timeshifting, having been behind it during 2017. -20
-30
-40
* All individuals aged 4+ that viewed for Children Adults Adults Adults Inds Inds Inds
at least three consecutive minutes 16-34 35-54 55+ ABC1 C2 DE
Source: BARB Source: BARB
Source:
Source: BARB
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