The findings underscore how the second-screen phenomenon – once associated primarily with younger audiences – has rapidly expanded across older demographics.

New primary research data from Omdia reveals that media multitasking is no longer just a Gen Z habit.

More than half of adults aged 45–54 now watch video clips on their mobile phones while watching television, highlighting a major shift in viewing behavior and the growing fragmentation of attention across screens.

According to Omdia’s latest consumer research, 52% of US viewers aged 45–54 reported watching video clips on their phones while watching TV in November 2025, up from 39% in November 2022. The trend is also accelerating among even older viewers: 35% of those aged 55–64 now multitask with mobile video, compared with 20% three years ago.

The findings underscore how the second-screen phenomenon – once associated primarily with younger audiences – has rapidly expanded across older demographics.

Speaking at the Connected TV World Summit 2026 in London, Maria Rua Aguete, Senior Research Director at Omdia said: “Media multitasking is no longer something that happens only among under-34s. Today, more than half of viewers aged 45–54, are watching videos on their phones while watching TV. This is a fundamental shift in how audiences consume content.”

Younger viewers remain the most consistent multitaskers, but their behavior has largely stabilized. Among 18–24-year-olds, the share rose only slightly from 61% in 2022 to 63% in 2025, while 25–34-year-olds increased marginally from 60% to 61% over the same period. By contrast, the strongest growth is happening among older audiences who are rapidly adopting second-screen behaviors.

Rua Aguete added: “The biggest change is not among Gen Z – it’s among viewers aged 45 and over. Multitasking has moved into the mainstream. Audiences increasingly split their attention across multiple screens, which reflects shorter attention spans and the constant pull of mobile platforms.”

For streamers, broadcasters, and advertisers, this shift has major implications for content strategy and audience engagement.

“When it comes to streamers and broadcasters, the challenge is clear: attention is now fragmented. Winning audiences increasingly requires content ecosystems that extend beyond the TV screen and into mobile experiences where viewers are simultaneously consuming video, social media and short-form content. The platforms that succeed will be those that design programming, marketing and engagement strategies with mobile behavior in mind. TV is no longer a single-screen experience”, Rua Aguete concluded.

La entrada Omdia: More than half of 45–54 year olds now watch mobile video while watching TV se publicó primero en TTV News.

A new report by Glance, which analyzes sports viewership patterns across 15 markets, shows the rise in popularity in women’s sports and the importance of live competitions to drive engagement.

Analysis company Glance shared its annual sports report, Yearly Sport Key Facts 2025, revealing record-breaking audiences and significant shifts in sports viewership patterns across global markets.

The comprehensive report analyses television sports consumption from September 2024 to August 2025 in 45 markets globally. The initial wave of 15 markets released highlights unprecedented viewing, including the highest-ever Super Bowl audience and the emergence of women’s sports as a major ratings driver.

American football reached new heights with Super Bowl LIX achieving an all-time record of 126.7 million viewers and 100% market share on FOX in the United States, demonstrating the enduring power of premium live sports content in an increasingly fragmented media landscape.

Women’s sport achieved breakthrough momentum globally, with the UEFA Women’s European Championship securing the number one sporting audience in both Germany and the UK. The Women’s Tour de France nearly doubled its viewership from 1.4 million in 2024 to 2.7 million average viewers in 2025, peaking at 4.4 million viewers with 41% market share on France 2 for the final stage.

“This sporting season has been defined by two clear trends: the continued dominance of premium sporting events in driving mass audiences, and the remarkable growth of women’s sport as a mainstream viewing proposition,” said Yassine‑Guillaume BERHOUN, Director of Sport at Glance.

“From the Women’s Tour de France nearly doubling its 2024 performance to women’s football topping ratings charts across Europe, we’re witnessing a fundamental shift in sports viewership patterns. Audiences are increasingly embracing diverse sporting content, showing viewers have a strong appetite for a variety of premium live sports content.”

Other key highlights from the Yearly Sport Key Facts 2025 report include:

Tennis witnessed historic moments with the Roland Garros final between Carlos Alcaraz and Jannik Sinner becoming France’s most-watched final since 2011, drawing over 5.1 million viewers on average on France 2 and France 3. Sinner’s subsequent Wimbledon victory delivered the UK’s third-highest sporting audience of the season with nearly 5.8 million viewers and a 48.3% market share on BBC1.

Rugby dominated the French sporting calendar with 6 out of 10 of the best sporting audiences of the season being rugby matches, maintaining its position as France’s third most consumed sport at 17% of total sports viewership.

New competitions also captured significant audiences, notably the inaugural NHL 4 Nations Face-off, a new hockey tournament, dominated Canadian sports viewing with 4 out of 10 best sporting audiences. Its popularity culminated in the Canada-USA final attracting 4.5 million viewers on Sportsnet (38% market share) and 9.3 million on ESPN in the United States.

Despite these emerging trends, football maintains its global dominance as the most consumed sports genre in 6 of the 15 territories studied, representing 49% of sports viewing in Italy and 71% in Spain.

The Yearly Sport Key Facts 2025 report, available via the OneGlance online platform, offers broadcasters, rights holders and sports organisations crucial insights for strategic planning and investment decisions.

Glance is planning to share subsequent Yearly Sports Key Facts updates looking at additional markets as well as F1 and MotoGP, which will be released in December and January.

La entrada Analysis: New Formats and Female Competitions Drive Live Sports to New Heights se publicó primero en TTV News.

The researcher’s new study indicates broadcasters across the Middle East and North Africa are increasingly rethinking their digital strategies, as exemplified by the deal between Abu Dhabi Media (ADM) and Starzplay.

According to Omdia research, broadcasters across the Middle East and North Africa are increasingly rethinking their digital strategies. Many are moving away from standalone OTT platforms and exploring partnerships with established streaming services, a trend highlighted by the newly announced partnership between Abu Dhabi Media (ADM) and Starzplay. This deal aligns with the patterns Omdia has been tracking worldwide.

Under the agreement, ADM’s digital catalogue, reported at more than 5,000 hours of Arabic entertainment, sports, and cultural programming, will be available exclusively on Starzplay’s ad-supported tier. Omdia notes that similar strategies have been observed in Europe, where broadcasters such as TF1, ITV, and Atresmedia have partnered with Netflix or Disney to expand audience reach, strengthen monetization, and reduce platform fragmentation.

“This partnership reflects the ongoing evolution of the MENA media landscape,” said Maria Rua Aguete, Head of Media and Entertainment at Omdia. “Broadcasters are increasingly exploring collaboration rather than building standalone platforms. Working with established streaming partners allows them to preserve local content identities while reaching audiences more efficiently.”

Omdia’s analysis indicates these strategic alliances enable broadcasters to balance advertising and subscription revenue models while maintaining crucial investment in local content production. The ADM-Starzplay agreement represents a win-win scenario: ADM gains access to Starzplay’s 2.6 million subscriber base without the costs of building its own platform, while Starzplay enhances its content offering with premium Arabic programming.

The partnership particularly underscores the growing importance of ad-supported streaming in the region, providing viewers with free access to premium Arabic content while creating sustainable revenue-sharing opportunities between partners.

“Collaborations between broadcasters and streamers are becoming a key foundation for sustainable media ecosystems,” Rua Aguete added. “Based on Omdia forecasts, we expect to see more similar agreements in the region over the next 12 to 18 months as local players adopt global best practices.”

La entrada Omdia: Growing Broadcaster Collaboration in MENA se publicó primero en TTV News.

Evolving technologies, changes in consumer habits; and the demand for safe, inclusive, and educational shows, are redefining the children’s content industry. In the following report, ttvnews compiles different views from producers, distributors, and content creators, who analyze the trends shaping the present and future of the market.

The children’s content industry is undergoing a period of profound transformation, driven by changes in consumer habits, technological advances, and the demand from families seeking entertainment with added value for their children. The sector is undergoing a dynamic process where innovation, interactivity, education, and cultural representation are becoming fundamental pillars for connecting with today’s younger viewers.

In the following report, ttvnews presents diverse outlooks from key industry players -producers, distributors, creative directors, and content creators- to showcase a broad and representative snapshot of where the market is headed, exploring the concerns, opportunities, and challenges shaping the current agenda.

Up next, we outline the main trends that have marked 2025 in the world of children’s content: from the consolidation of edutainment to the growing demand for inclusion and diversity, the rise of interactive formats, the impact of artificial intelligence, and the power of major IPs.

ENTERTAINMENT WITH ADDED VALUE: EDUTAINMENT

The shared desire from parents around the world for their children’s screen time to be enriching and not just a distraction, has given rise to the biggest trend in kids’ content today: edutainment.

“The children’s content industry continues to evolve toward a more meaningful and purposeful offering,” explains Edgar Spielmann, CEO and co-founder of 2BeNamed. “The main trend is content that, in addition to entertaining, provides a differentiating value, fostering curiosity, promoting positive values, or encouraging exploration and responsibility for the world around them.”

“Children’s content has evolved beyond pure entertainment,” adds Marijo Arnaiz, Senior Sales Manager at Toonz Media Group. “Edutainment is gaining ground as a powerful means of imparting knowledge in innovative ways, and parents are embracing these modern approaches instead of conventional learning methods.”

“Today’s parents are more involved than ever,” share Roberto Mitrani and Xavi Mas, co-founders of Liquid Rock Entertainment. “They want content they can trust, and that’s a key factor for success. It must be entertaining and developmentally relevant.”

Bibopalula – Digitoonz Spain

In response to this demand, groups like Gookapi have developed products that promote “universal values and sustainable development,” creating a “safe space where parents can trust to find violence-free, green, and inclusive content,” explained Marianella Gomis, Director of Project Development and Acquisitions; or El Reino Infantil, whose songs in English and Spanish help Latino audiences maintain their language, “and help English-speaking parents know that their children can learn Spanish easily,” emphasized Kuky Pumar, the group’s executive director.

This evolution has led children’s content to take on a new dimension, where “its ability to educate, include, and emotionally connect with the little ones is now valued,” says Tony Albert, CEO of Motion Pictures, and generating “a growing need for younger preschool content,” as predicted by Alex Sherwood, CEO and Director of Development at Giant Animation.

“We’re seeing a boom in edutainment and inclusive storytelling,” summarizes Johannes Gropp, founder and CEO of StoryZoo, touching on another one of the major trends shaping the current state of children’s content.

INCLUSIVE CONTENT FOR A DIVERSE WORLD

Because when it comes to education, lessons go well beyond the school curriculum, into content that imparts values and reflects an increasingly heterogeneous and multicultural society.

“Inclusion is increasingly important. Children need to see a representation of themselves and how they experience the world,” explains Marylou Thistleton-Smith, CEO of TVG, emphasizing the need to present diverse characters, as Manoj Mishra, CEO and managing director of Powerkids, also says: “Character diversification is a key trend, with a focus on representing different backgrounds, abilities, and cultures. This shift is driven by the demand for more inclusive and relatable content.”

“In 2025, we are seeing several key trends, such as the increase in diverse characters in leading roles,” adds Maggie Salas-Amaro Castellon, Director of Kids at Canela Media, as “there is a growing demand for content that promotes diversity, inclusion, and education.”

Gigantosaurus – Cyber Group Studios

In pursuit of a more inclusive representation of viewers, Lucia Geraldine Scott, a producer at Red Monk Studio, predicts that the industry “will increasingly move toward integrating digital phenomena into the production of audiovisual content, which will inevitably lead to the creation of products capable of overcoming barriers of gender and social status.”

BEYOND THE SCREEN: THE RISE OF INTERACTIVE CONTENT

In other words, viewers are taking an increasingly less passive role in the face of entertainment, becoming active participants in content, giving way to the third major trend of the year: interactivity.

“The digital and interactive environment on a global level has become the indispensable way to connect with audiences,” explains Carlos Biern, Content & Media Sales Director of DeAPlaneta Kids & Family. “The goal is to generate relevant content adapted to users wherever they are.”

A great ally in this journey are, without a doubt, new technologies, which “are redefining the way children interact with stories,” says María Bonaria Fois, president of Digitoonz Spain. “More immersive and interactive formats are transforming passive consumption into a participatory experience.”

“The industry is also seeing a surge in interactive content due to the growing popularity of podcasts, video platforms, and immersive experiences like virtual and augmented reality,” adds Manoj Mishra, CEO and Managing Director of Powerkids.

“As creators, we must tap into the zeitgeist and engage with cultural trends in real time. Today’s kids consume content interactively, so linear episodes alone are no longer enough,” advises Lizzie Jones, producer of Piranha Bar. “To engage younger generations in the coming years, animated content will need to be interactive and immersive, adaptable, and scalable,” adds Hugo Brochard, International Sales Manager at Superights.

PongPong Dino – Dandelooo

In this regard, Migdalis Silva, VP, Brand Head for Nickelodeon Latin America, predicts: “Multiplatform productions, which combine series with video games and interactive digital experiences, are setting the pace. Looking ahead, we expect a boom in genres such as adventure, science fiction, comedy, and ecology, always with an innovative approach.”

“In 2025, personalization remains a strong trend: kids interact with content where, when, and how they want, often in shorter periods of time and across multiple platforms,” summarizes Luke Field, General Manager of Commercials for The Wiggles.

ARTIFICIAL INTELLIGENCE AND THE CREATOR ECONOMY

In this quest to connect with their audiences, content creators are increasingly relying on one of the tools that has gained the most ground in recent years: Artificial Intelligence, which not only helps streamline content creation, but also reduces costs and democratizes production.

“In terms of trends, AI will accelerate rapidly, playing a role in optimizing channels and making budgets more efficient, as well as helping creators create their own content,” highlights Oliver Ellis, Deputy CEO of Hoho Entertainment.

“Thanks to rapidly evolving new production technologies, producers can generate creative ideas to produce incredible programs at a lower cost. With advancements in AI, we will see more specialized and personalized content emerge,” adds Emre Aksoy, Chief Commercial Officer of Fauna Entertainment.

“AI will improve efficiency across all facets of our industry, helping us work more effectively -not just in animation and production, but in every aspect of our business, from streamlining workflows to reducing budgets and timelines- allowing us to deliver high-quality content more quickly and efficiently,” explains Anna Pokorska, Sales Manager at CAKE Distribution.

TRAVELING WITH THE POWER OF BIG IPs

Optimizing costs and production models is especially important in these uncertain times for the entertainment industry in general, and has led to a search for solutions and guarantees when creating content, especially for children, where big-name IPs seem to be the most popular option.

Talking Tom Heroes – Cake Distr

“The children’s content industry is more competitive than ever, with limited discoverability and reduced licensing budgets making it increasingly difficult for new series to stand out. Given these challenges, it’s increasingly important to rely on established IPs that come with built-in audience awareness or strong marketing potential,” emphasizes Joss Duffield, VP of Distribution at 9 Story Media Group.

“I think the market will remain conservative and continue to favor well-known IPs for major television projects,” adds Ivan Agenjo, CEO and Executive Producer of Peekaboo Animation, “especially when it comes to content that lives in the digital world or on AVOD platforms.”

The VOD universe is now a must for children’s content, which must be able to transcend the traditional TV screen and expand into other spaces, adapting to new consumer habits.

“The children’s audiovisual industry has been undergoing a profound transformation for some time now, marked by changing consumer habits, audience fragmentation, and the pressure to maximize the performance of each production. Streaming platforms have introduced a new logic: it’s no longer just about broadcasting content, but about building sustainable narrative universes, where each title can expand, build loyalty, and become a brand,” says Begoña Esteban Montero, Director of International TV Sales and Acquisitions at Pink Parrot Media.

“The children’s content industry is evolving rapidly, with the continued rise in VOD consumption and cuts in commissions, which means producers and distributors need to diversify their strategies and offerings to stand out in the market,” says Safaa Benazzouz, Executive Vice President of Distribution at Xilam Animation.

Tina & Tony – Animotion Media Group

That being the case, some people haven’t lost hope that the industry will return to its former glory days. “The current situation is a very difficult and challenging market. Fewer commissions, fewer acquisitions in both the linear and non-linear sectors. However, children aren’t going to stop watching screens and animated series. That’s why I believe in the recovery of our industry; we just have to hang on long enough and remain creative and innovative in all aspects of our industry,” encourages Raphaëlle Mathieu, COO of Cyber Group Studios.

THE ROAD AHEAD

In short, the children’s content landscape in 2025 reflects an industry undergoing a transformation, where the combination of education and entertainment, inclusion, interactivity, and new technologies, converge to respond to the new habits and expectations from kids and families. The challenges of a competitive and fragmented market coexist with enormous creative and technological opportunities, allowing for the creation of increasingly diverse, accessible, and meaningful offerings.

The future of the sector will depend on its ability to innovate without losing sight of its essential mission: to offer new generations safe, enriching experiences capable of inspiring their curiosity, empathy, and connection with the world.

La entrada Innovation, Diversity, and Edutainment: The New Rules of Kids’ Content se publicó primero en TTV News.

In the following report, Fabric Data analyzes the growing popularity of Asian titles in the country and how platforms are adapting their content strategies to U.S. audience preferences.

In recent years, Asian content has grown significantly, both in number and popularity. What was once considered niche content is now a significant part of the global mainstream, especially among younger audiences.

A new report by Analytics company Fabric Data studies this growing trend to see which genres and productions are gaining the most ground in the territory.

Asian Productions Gain Visibility in the U.S.A.

South Korea and Japan lead this shift. While Hollywood slows down due to rising production costs, these countries are producing more and faster, finding success across borders. The global turning point came when Parasite (2019) won the Oscar and Squid Game (2021) became a phenomenon. Since then, Asian productions have maintained a steady presence in global rankings. Series like The Glory (2022), Extraordinary Attorney Woo (2022), My Roommate Is a Gumiho (2021), and Light Shop (2024) have gained strong international traction on streaming platforms, such as Netflix, Prime Video and Disney+.

Japanese cinema has experienced a remarkable surge in recent years, with titles achieving widespread global recognition. Films like Your Name (2016) marked a pivotal moment in Japanese cinema, standing out as one of the most significant productions in its genre. This success paved the way for other anime films to gain greater visibility in mainstream cinema. In this context, Demon Slayer: Mugen Train (2020) became one of the most notable titles, reaching unprecedented popularity and surpassing other major Japanese productions such as Oscar-winning Spirited Away (2001).

This growth suggests evolving audience tastes and the arrival of new content hubs that may increasingly share the stage with Hollywood.

Japanese and Korean Titles Expand on U.S. Platforms

Between 2024 and 2025, Japanese and Korean titles increased across all major U.S. platforms:

Prime Video led growth, expanding both Korean and Japanese libraries. Japanese titles grew by 30%, while South Korean titles saw a 54% increase.

Netflix increased mostly in Japanese content, with a 21% growth in Japanese titles, compared to a modest 7% increase in South Korean content.

Disney+ showed modest growth, with a 0.7% increase in Japanese titles and a 13% increase in South Korean titles.

These trends reflect rising demand and show how platforms are adapting their content strategies to U.S. audience preferences.

Series vs. Movies: What U.S. Viewers Prefer

In 2025, series make up 64% of the Japanese and Korean content available in U.S. catalogs, while movies account for the remaining 36%. This aligns with global trends favoring serialized storytelling and long-term engagement. From 2024 to 2025, Netflix, Prime Video, and Disney+ increased their availability of series more than movies.

In fact, the percentage of U.S. households watching movies dropped 14% in the last year (from 77% in 2023 to 66% in 2024). Series viewership remained stable, reinforcing why platforms are prioritizing series over movies in their content strategies.

Who’s Investing Most in Original Asian Content?

Netflix is the leading investor in original Asian content. By 2025, it had produced over 510 original titles in South Korea and Japan. This surpasses other platforms significantly.

Its 2025 lineup includes 25 new Korean titles—11 series, 7 movies, and 7 variety shows—produced entirely in South Korea.

Most Popular Asian Series on Netflix U.S.

In 2025, 4 of the top 5 most-popular Asian series on Netflix U.S. were Netflix Originals. In addition, 3 of those were produced in South Korea:

Squid Game (2021)
When the Phone Rings (2024)
The Trauma Code: Heroes on Call (2025)

Squid Game became a global phenomenon upon its release in 2021, captivating audiences with its gripping storyline and unique take on survival games. As one of Netflix’s most successful originals, it brought Korean content into the international spotlight, particularly in the United States. Given its massive success, it’s no surprise that Netflix invested in a third season, which premiered on June 27th. The season was a hit, maintaining its position as the most popular series in the United States for the three weeks following its release.

The top 5 is completed by two Japanese anime titles, Jujutsu Kaisen (2020) and Sakamoto Days (2025), the last one being one of Netflix’s own original productions. Another title with high popularity on Netflix U.S. is the K-drama When the Stars Gossip (2025), which is also an original production from the platform.

Leading Genres in Asian Streaming Content

When looking at the genres of Asian series available on major U.S. streaming platforms, sci-fi leads the way, representing 31% of all titles. It is followed by:

Animation (21%)
Drama (13%)
Action (11%)
Comedy (8%)

This differs from overall U.S. genre preferences in 2024, where comedy and drama ranked higher (62% and 55%, respectably) and sci-fi ranked lower at 35%. Netflix’s focus on sci-fi and animation suggests it’s anticipating future shifts in audience interest.

La entrada Report: Asian Productions Gain Ground in the U.S. se publicó primero en TTV News.

According to the Anime Industry Report, anime accounted for 6% of global streaming revenue in 2023.

Japanese anime captivated global audiences in 2023 like never before, achieving record-breaking revenues and expanding its cultural influence worldwide. According to Parrot Analytics, anime generated an impressive $19.8 billion in total global revenue, including $5.5 billion from streaming and $14.3 billion from merchandising sales, underscoring its significant economic and cultural impact worldwide.

Parrot Analytics and the Association of Japanese Animations (AJA) have collaborated to enrich the Anime Industry Report with exclusive data on the global value of anime, offering stakeholders transformative insights into this thriving industry.

“Anime is bigger than ever. Its record-breaking revenues and global impact capture hearts and inspire imaginations worldwide. This collaboration between AJA and Parrot Analytics will unlock new opportunities for creators, ensuring that anime’s cultural legacy thrives while opening new economic opportunities for Japan on the global stage,” said Macoto Tezka, celebrated visualist, and filmmaker and honorary director of The Osamu Tezuka Manga Museum.

The inclusion of Parrot Analytics’ comprehensive valuation data enriches the report’s findings, providing robust analytics on global audience demand, streaming economics, and the streaming landscape, helping Japanese creators and producers maximize their global impact and drive sustainable growth.

“Anime is a major driver of ancillary businesses such as consumer products, gaming, and live events, creating ripple effects across the global economy,” said Douglas Montgomery, former Chairman of the Japan America Society of Southern California. “By tapping into these interconnected industries, the anime sector can unlock immense economic potential and foster innovation far beyond traditional media.”

According to the Anime Industry Report, anime accounted for 6% of global streaming revenue in 2023. Notably, 41% of anime’s streaming revenue originated from North America, highlighting the region’s strong engagement with the medium. Merchandising further amplified its global impact, with North America and Asia leading as the largest contributors to anime’s total revenue.

Key Highlights of Parrot Analytics’ Findings

Global economic impact: Anime generated $19.8 billion in total global revenue in 2023, including $5.5 billion from streaming and $14.3 billion from merchandising.

Regional revenue leadership: North America and Asia contributed a combined $14.3 billion in total revenue, accounting for over 72% of anime’s global impact.

Streaming revenue contribution: Anime accounted for 6% of global streaming revenue in 2023, with North America contributing $2.2 billion (41% of anime’s streaming revenue) and Asia $1.6 billion (29%).

Merchandising dominance: Asia led merchandising revenue with $5.46 billion, followed by North America at $4.97 billion, together comprising 73% of global anime merchandise sales.

Platform-specific success: Anime drove over $2 billion in revenue for Netflix globally, demonstrating its importance as a cornerstone of the platform’s content library and accounting for 38% of total anime streaming revenue.

New revenue opportunities: Advanced insights from Parrot Analytics reveal untapped pathways for expanding revenue streams, particularly in merchandising, streaming, and emerging international markets.

“Japan is at the heart of the global entertainment ecosystem, and anime is a clear testament to its creative power,” said Alejandro Rojas, VP of Applied Analytics and Global Head of Parrot IQ at Parrot Analytics. “Our expertise in streaming economics, global entertainment analytics, and IP valuation enables Japanese creators to unlock new revenue opportunities and expand their global footprint even further.”

La entrada Japanese Anime Captured $19.8 Billion in 2023 Global Revenue se publicó primero en TTV News.

Despite the decline, some fundamental characteristics of TV fiction production in Europe remained unchanged: telenovelas accounted for most hours produced (61%).

The European Audiovisual Observatory has published a new report on audiovisual fiction production in Europe, revealing, among other findings, that TV/SVOD fiction production in Europe dropped by 6% across all formats, based on 2023 data.

The report analyzes the volume of fiction films and series produced for TV/SVOD in Europe, their origin, international co-productions, and the central commissioners and producers. Dr. Agnes Schneeberger, an analyst in the Observatory’s Market Information Department, authored the report.

Key Findings of the Report

In 2023, European TV fiction production reached a turning point: titles fell by 6% across all formats.

The steady growth of high-end series (13 episodes or fewer per season) ended, with the number of titles stagnating in 2023 (a 2% decrease compared to the previous year).

More than half of the fiction titles produced in Europe in 2023 were commissioned by public service broadcasters (55%), followed by private broadcasters (31%) and global streaming platforms (14%).

Decline in TV Fiction Production in Europe

The post-pandemic recovery failed to stabilize the European TV fiction market. After a brief return to growth, the production and release of original TV fiction are now in decline. In 2023, TV fiction production dropped by 6%, accompanied by a 6% reduction in the number of episodes and a slight 3% decrease in the volume of hours produced compared to the previous year.

On average, over 1,200 titles, 23,000 episodes, and 14,000 hours (titles refer to TV films or TV series seasons; animation is not included) are produced annually in Europe.

Between 2015 and 2023, more than 2,000 production companies/groups produced at least one fiction title, but only 3% did so yearly during these nine years.

Despite the downturn, some fundamental characteristics of TV fiction production in Europe remained unchanged: telenovelas/soaps accounted for the bulk of hours produced (61%), and more than half (58%) of all titles produced were series with 13 episodes or fewer per season.

The End of the High-End Series Boom

The continuous growth of high-end series ended in 2023, with the number of titles decreasing by 2% compared to the previous year. Production hours for series with 13 episodes or fewer per season stagnated (a 1% drop), as seasons had fewer and shorter episodes (likely in response to rising production costs and inflation).

The United Kingdom, with 159 titles in 2023, was the leading producer of high-end series, followed by Germany (119), France (92), Italy (58), and Spain (58).

The top five series commissioners with 13 episodes or fewer per season were BBC, Netflix, Amazon, ZDF, and ARD.

Public Broadcasters Commissioned 55% of Titles and 39% of Hours

More than half of the fiction titles produced in Europe in 2023 were commissioned by public service broadcasters (55%), followed by private broadcasters (31%) and global streaming platforms (14%).

However, due to their larger share in daily soaps and telenovelas, private broadcasters produced more hours (57%) than public service broadcasters (39%). Global streaming platforms account for only 5% of hours of the time, as they do not invest in long-running TV series.

Co-productions accounted for 10% of all TV fiction titles in Europe in 2023. On average, more than 100 TV fiction co-productions are produced annually in Europe, almost exclusively high-end TV series and TV films.

La entrada TV/SVOD Fiction Production in Europe Dropped by 6% Across All Formats se publicó primero en TTV News.

Looking ahead, this upward trend is expected to continue. By 2026, global advertising spending is projected to reach $1.24 trillion.

The global advertising market is poised for a significant leap, with ad spending anticipated to grow by 10.7% this year, surpassing $1 trillion for the first time, according to the latest report by Warc Media.

The study revealed this represents an improvement of 0.2 percentage points compared to their August forecast, while the $104 billion increase in spending this year would be the second-largest in history.

Looking forward, this upward trend is expected to persist. By 2026, global ad spending is projected to hit $1.24 trillion, marking an 80% increase compared to pre-pandemic levels in 2019.

Although growth continues to be driven by the digital sector, this year has been positive for television, according to Warc. Linear TV ad spending is expected to end the year with a 1.9% increase, reaching $153.6 billion, following two years of decline. Political spending, particularly in the United States, along with the Paris Olympics and the Euro 2024 football tournament, contributed to improved prospects for linear television. However, its share of ad spending continues to decline, dropping to 14.3% from a peak of 41.3% in 2013.

Pure-play internet platforms, which include companies like Alphabet, Amazon, and Meta, will see a 14.1% increase in ad spending, reaching $741.4 billion, accounting for nearly 70% of all global ad spending. Social media dominates with a total of $252.7 billion, representing 23.5% of the market.

James McDonald, Director of Data, Intelligence, and Forecasting at Warc and author of the research, commented: “In our latest forecast, we anticipate a $104 billion increase in global ad spending this year, the largest on record aside from the post-pandemic recovery year of 2021. However, it remains unclear if this boom will persist, as 2025 presents a critical juncture due to growing regulatory pressures on Google and TikTok, which together account for a quarter of the ad market outside China. This, along with an increasingly challenging geopolitical climate, could signal uncertain times ahead for businesses reliant on advertising-driven commerce.”

La entrada Upward Trend in the Global Advertising Market Exceeds $1 trillion se publicó primero en TTV News.