In the rapidly evolving landscape of media consumption, the British Broadcasting Corporation (BBC) stands as a monumental entity, navigating the waves of change with a blend of traditional and digital content offerings.

This article delves into an in-depth analysis of 20 pivotal BBC statistics, shedding light on the corporation’s multifaceted approach to broadcasting.

From television to radio, and from news to its expansive digital properties, we uncover how the BBC remains relevant in an age where streaming services and digital platforms are vying for viewers’ attention.

Whether you’re a media enthusiast curious about the BBC’s strategy to maintain its stronghold, a researcher analyzing media consumption trends, or just someone intrigued by the broadcasting giant’s adaptability in the digital era, this article promises insights into how the BBC continues to inform, educate, and entertain millions globally.

We’ll explore the numbers behind its television and radio successes, dissect its news coverage reach, and reveal how its digital properties are faring against stiff competition.

Join us as we navigate through the BBC’s statistics, offering a comprehensive overview that highlights its ongoing journey in the media landscape.

BBC statistics overview

The British Broadcasting Corporation (BBC), a cornerstone of the UK’s cultural and information landscape, has long been a focal point for discussions surrounding public broadcasting’s role, efficiency, and evolution in the digital age.

As we delve into a comprehensive overview of the BBC’s statistics, several critical areas of its operational and financial framework come to the fore.

This section examines the multifaceted aspects of the BBC’s financial health and strategic allocations, starting with its annual income in the United Kingdom, broken down by source.

It reveals the intricate balance between license fees, governmental funding, and commercial revenues, providing a clear picture of how the BBC sustains its diverse array of services.

Furthermore, we dissect the corporation’s spending per service, offering insights into how funds are distributed across television, radio, and online platforms to meet its public service remit.

The analysis extends to the BBC’s digital media spending distribution, highlighting how the broadcaster is adapting to the digital transformation impacting viewer habits. Additionally, we explore the BBC brand value, a testament to its global recognition and trustworthiness.

Lastly, the section sheds light on the highest annual earnings of BBC employees, a topic that has sparked public and media debate, reflecting on the organization’s commitment to transparency and fairness amidst evolving market dynamics.

This overview not only maps out the economic footprint of the BBC but also sets the stage for understanding its strategic approaches in an increasingly competitive media landscape.

BBC’s annual income in the United Kingdom, by source

The graph below presents the annual income of the BBC in the United Kingdom (UK) from 2010 to 2023, with two main sources: license fee income and other income and revenue.

Here are several insights and trends derived from the data:


  • Overall Growth: Over the period shown, the total income of the BBC has been generally increasing, with some fluctuations. The earliest reported income in 2010 is roughly 4.79 billion GBP, while the projected income for 2023 is approximately 5.73 billion GBP. This indicates a growth in income over the 13-year span.
  • License Fee Income: License fee income, which is the primary source of revenue for the BBC, shows minor fluctuations but does not present a clear upward or downward trend. It started at 3.45 billion GBP in 2010, had a peak of 3.83 billion GBP in 2017, and is projected to be slightly lower at 3.74 billion GBP in 2023.
  • Other Income and Revenue: The other income and revenue stream started at 1.34 billion GBP in 2010 and has generally seen an increasing trend, reaching the highest at 1.99 billion GBP in the projected data for 2023. This seems to be a more consistently increasing sector compared to the license fee income and shows substantial growth over the years.
  • License Fee Versus Other Revenue: While the license fee income has remained relatively stable, the growth of the BBC’s annual income appears to be driven significantly by the increase in other income and revenue. This could reflect the BBC’s diversification and growth in commercial activities or other funding sources outside of the traditional license fee structure.
  • Notable Year-to-Year Changes: There is a notable dip in other income and revenue from 2013 to 2016, where it goes from 1.45 billion GBP to 1.07 billion GBP. This dip could be of interest to stakeholders looking to understand changes in market conditions, policy, or strategic shifts during that time.
  • Projections for 2023: The projection for 2023 shows a significant increase in other income and revenue while the license fee income remains unchanged from the 2022 level. This suggests a shift or a strategy by the BBC to enhance revenue streams other than the license fee.

It would be prudent to consider external factors not shown in the graph that may have affected these trends, such as changes in government policy, the media landscape, the adoption of digital media platforms, broader economic conditions, and shifts in consumer behavior.

The graph also leaves out the context behind why there may have been fluctuations or steady periods, which would be essential for a more in-depth analysis.

BBC’s spending per service in the United Kingdom

The graph belows shows the annual spending of the BBC in the United Kingdom from 2013 to 2023 by service, in million GBP.


  • Television as Main Expenditure: The largest share of spending consistently goes to television services. It starts at 2,472 million GBP in 2013 and shows some fluctuations, decreasing to 1,869 million GBP in the 2023 projection. This decreasing trend in television spending could be a result of shifts in viewer behavior, changes in the industry, or strategic reallocations by the BBC.
  • Decline in Spending: There is an overall decline in spending across all services from 2019 onwards. The most significant drop occurs from 2019 to 2020, where the expenditure on television dips sharply from 2,038 million GBP to 1,699 million GBP. This significant reduction could have been influenced by various external factors, such as budget cuts, restructuring, or the impact of the COVID-19 pandemic.
  • Radio Spending: Spending on radio services shows a slight but gradual increase from 2013 to 2021, followed by a slight decrease in 2022 and a larger projected decrease in 2023. Starting at 670 million GBP in 2013 and reaching a high of 498 million GBP in 2023, radio spending shows more stability compared to television.
  • Online Spending: Investment in online services has seen substantial growth from 2013 to 2022, starting at 133 million GBP and more than tripling to 477 million GBP. However, the 2023 projection indicates a slight decrease to 477 million GBP, which could suggest a plateauing of online service investment or a strategic cap on spending in this area.
  • Other Services and Production Costs: This category shows variability and a general increase over time. Starting at 160 million GBP in 2013, there is growth until it peaks at 290 million GBP in 2016 before it stabilizes around 230-250 million GBP in the following years. The 2023 projection shows a significant increase to 477 million GBP, highlighting increased investment in other BBC services and productions.
  • License Fee Collection and Pension Deficit Costs: Spending on license fee collection and pension deficit costs has remained relatively stable, with a slight decreasing trend toward the later years. The 2023 projection shows these costs stand at 137 million GBP, which is lower than some earlier years but still significant.

In conclusion, the BBC is reducing its expenditure on television and radio services while increasingly investing in online services, which could reflect a strategic pivot to digital platforms. The spike in “Other services and production costs” in 2023 may signal new investments or initiatives.

The drop in spending across most categories from 2019 could be attributed to budgetary constraints or external economic factors that prompted the BBC to rethink its spending. Overall, the data suggests a reallocation of resources to adapt to the changing media landscape and viewer consumption patterns.

BBC digital media spending distribution in the UK

From the graph below, titled “BBC digital media spending in the United Kingdom (UK) from 2011/12 to 2022/23 (in million GBP),” we can analyze the following insights regarding the BBC’s spending patterns on digital media:


  • Overall Growth Trend: There has been a clear upward trend in digital media spending by the BBC from the fiscal year 2011/12 until 2021/22. Starting at a total of 128.8 million GBP (115.3 for BBC Online and 13.5 for BBC Red Button), the spending increased substantially over the years.
  • BBC Online Dominance: The most significant portion of the spending is consistently attributed to BBC Online, indicating the BBC’s strong emphasis on their online presence and services. The lowest spending recorded here is 103 million GBP in 2012/13, and it peaks at 247 million GBP in 2021/22.
  • BBC Red Button Stability: The spending on BBC Red Button service appears comparatively stable and significantly lower than that of BBC Online. It fluctuates around 13.5 to 16 million GBP, except for 2022/23, where data might not be fully shown.
  • Year-on-Year Variations: While the overall trend is upward, there are slight yearly fluctuations. Notably, a sharp increase in spending on BBC Online is evident between 2013/14 and 2014/15, from 106.5 to 124.6 million GBP, which could indicate strategic investments or expansion in digital services during that period.
  • Slight Dip in Recent Spending: The projection for 2022/23 shows a slight decrease in spending on BBC Online to 234 million GBP from 247 million GBP the previous year. This might suggest budgetary adjustments, reallocation of funds, or possibly reflections of strategic shifts within the BBC’s digital media departments.
  • Proportional Spending: The small proportion of spending on the BBC Red Button service, compared to BBC Online, reflects a possible prioritization of the BBC’s online platforms over their teletext service, which may be in response to changing audience habits and digital consumption trends.

In summary, the BBC has been increasing its investment in digital media, predominantly in online services. The slight reduction in spending projected for 2022/23 could be seen as an optimization after a period of significant focus and growth in this area.

The data signifies the importance of digital services as core to the BBC’s strategy and may reflect broader industry moves towards digital and online content delivery.

BBC brand value

The graph below illustrates the brand value of the BBC worldwide from 2017 to 2022, measured in billion U.S. dollars.

Here are some key insights and patterns that can be gleaned from the data presented:


  • Decreasing Trend: There is an observable decreasing trend in the brand value of the BBC over the six-year period. The value peaked in 2017 at $2.62 billion and experienced a decline, reaching its lowest point in 2022 at $1.59 billion.
  • Largest Drop in Recent Years: Notably, the brand value sees the most significant decrease between 2021 and 2022, dropping from $1.98 billion to $1.59 billion. This marked decrease might be cause for concern and could warrant investigation into potential causes, such as changes in viewer habits, increased competition, reputational issues, or other external factors.
  • Short-Term Recovery: The data shows a slight recovery in 2021, when the brand value went up from $1.87 billion in 2020 to $1.98 billion. However, this recovery was short-lived as the value dropped again the following year.
  • Consistent Year-Over-Year Decline: With the exception of the slight rise in 2021, the BBC’s brand value has consistently declined each year. This shows that the peak in 2017 was followed by a general downward trajectory that suggests a possible long-term challenge in maintaining or enhancing brand valuation.
  • Potential External Influences: The time period covered by the data could have been influenced by several external factors, including shifts in media consumption patterns, the increasing role of streaming services, and possibly the impact of the COVID-19 pandemic on advertising and subscription revenues.
  • Implications for Strategy: The steady decline in brand value could imply that the BBC may need to reassess its strategic initiatives, addressing factors that could be contributing to the devaluation. This might include investing in digital transformation, content innovation, and market repositioning to bolster the brand’s strength and appeal.

In conclusion, the BBC’s declining brand value from 2017 to 2022 indicates challenges in an evolving media landscape and may necessitate strategic changes to reverse this trend.

The precise reasons for these shifts are not provided in the graph and thus would require further in-depth analysis, considering other data sources and industry trends to fully understand the implications of this decreasing brand valuation.

Highest annual earnings of BBC employees in the UK

The graph below displays the annual salaries of the highest-earning employees at the BBC in the United Kingdom for the year 2022, with values denoted in thousands of Great British Pounds (GBP).

Here are some insights and patterns that can be derived from it:


  • Sports Presenters at the Top: Gary Lineker, a sports presenter, has the highest listed salary at 1.35 million GBP, followed by another sports presenter, Alan Shearer, who earns 445,000 GBP. This indicates that sports presenters are among the most valued in terms of salary at the BBC.
  • The Significant Salary Gap: There is a substantial gap between the top earners, with Gary Lineker earning nearly three times more than Alan Shearer and nearly four times more than some others on the list like Fiona Bruce, Greg James, and Ken Bruce.
  • Multi-genre Presenters: Presenters with the versatility to work across multiple genres, such as Fiona Bruce and Lauren Laverne, are represented in the mid-range of the salary spectrum, indicating the BBC’s investment in versatile talent.
  • News Presenters: Huw Edwards (News) has a notable presence on the graph with an annual salary of 435,000 GBP, which ranks him among the higher earners. This reflects the importance of news presenters within the organization.
  • Gender Representation: The graph shows a mix of male and female presenters. While there are high-earning females like Zoe Ball and Fiona Bruce, the top and bottom earners are male. This could be an area for further analysis in the context of discussions around gender pay parity.
  • Salary Clustering: There seems to be a clustering of salaries between 390,000 GBP and 400,000 GBP, with several employees lying in this range. This suggests a standard pay range for established presenters within certain genres or roles.
  • The Diversity of Roles: The list includes people from various roles such as radio presenters, TV presenters, sports commentators, and newsreaders. This diversity reflects the variety of content and platforms the BBC invests in.

It’s important to note that the graph does not reveal the full scope of the presenters’ duties or the number of programs or hours worked, which can be important factors in salary negotiations. Furthermore, these figures are for one year only and do not provide trend data over time.

BBC statistics: Television

In the vibrant tapestry of the United Kingdom’s television landscape, the BBC stands as a beacon of public service broadcasting, renowned for its rich array of content that spans genres and interests.

As we hone in on the “BBC statistics: Television” section, we embark on an analytical journey that illuminates the corporation’s intricate relationship with the broader TV production ecosystem and its commitment to delivering value to its audience.

Central to this exploration is the examination of the number of independent production companies supplying content to Public Service Broadcasters (PSBs) in the UK, a testament to the BBC’s role in fostering a diverse and dynamic media industry.

This collaboration not only enriches the variety of programming available to viewers but also underscores the BBC’s support for creative talents across the nation.

Furthermore, we delve into the operational efficiencies of the BBC’s television production, specifically through an analysis of the TV production cost per user hour by channel.

This metric offers invaluable insights into how the BBC allocates resources across its channels, ensuring that each pound spent translates into quality viewing experiences for its audience.

Through this section, we aim to provide a comprehensive understanding of the BBC’s television operations, highlighting its strategic investments in content production and its pivotal role in shaping the UK’s television landscape.

Number of independent production companies supplying PSBs in the UK

The bar graph below illustrates the number of independent TV production companies supplying content to various public service broadcasters (PSB) in the United Kingdom from 2016 to 2021. The broadcasters included are BBC Portfolio, Channel 4 Portfolio, ITV Portfolio, and Channel 5 Portfolio.

From examining the graph, the following insights can be derived:


  • Dominant Broadcaster: The BBC Portfolio consistently engages with the highest number of independent production companies across all the years displayed. The numbers hover above 300 each year, which indicates steady demand for content from a diverse range of producers.
  • Peak Numbers: Channel 4 Portfolio peaked in 2019 with 295 suppliers before experiencing a noticeable drop in 2020 and 2021. This might suggest a change in procurement strategy, a response to industry or economic changes, or the impact of the COVID-19 pandemic.
  • ITV Stability: ITV Portfolio’s supplier numbers remained relatively stable over the years, with only slight fluctuations. This suggests a consistent approach to sourcing content from external producers, with a mild increase in 2021 compared to 2020.
  • Growth for Channel 5: Channel 5 Portfolio showed an upward trend from 2016 to 2019, with a slight reduction in 2020 and 2021. The overall trajectory indicates that Channel 5 had been ramping up its external content acquisition before reducing it in recent years.
  • Effect of 2020: A common trend across all PSBs is the decrease in the number of suppliers in 2020, which coincides with the onset of the global COVID-19 pandemic. This could imply that disruptions caused by the pandemic led to broadcasters working with fewer production companies, possibly due to production halts, budget constraints, or shifting content strategies.
  • BBC Reduction in 2021: Despite a general decreasing trend for all broadcasters in 2020, the BBC Portfolio further reduced its number of suppliers in 2021, which deviates from the relatively stable numbers in previous years. This reduction could lead to speculation about strategic shifts or budgetary considerations within the BBC.

Overall, the graph indicates that the BBC is the largest utilizer of independent production companies, but all broadcasters showed a decrease in numbers after a peak in 2019, potentially as a result of the pandemic.

Going forward, it would be interesting to monitor whether these figures rebound as the industry adapts post-pandemic or whether the 2020-2021 reductions mark a longer-term strategic adjustment in the broadcasting industry.

BBC TV production cost per user hour in the UK, by channel

The graph below illustrates the cost to deliver BBC TV services to individual users per user hour in the United Kingdom (UK) from the fiscal year 2015/16 to 2022/23, broken down by channel. Each colored bar represents a different fiscal year, with the cost measured in pence.

Here are some insights and patterns observed from the data:


  • General Trend: Overall, there appears to be a general increase in the cost per user hour over the years for most channels, indicating that the cost to deliver content is rising. This could be due to various factors such as inflation, increased production costs, investment in higher quality content, or changes in viewership patterns.
  • CBBC and BBC One: In the fiscal year 2022/23, CBBC and BBC One stand out with significantly higher costs per user hour compared to the other channels. CBBC, in particular, shows a notable uptick in cost from previous years, jumping to 39 pence in 2022/23 from 33 pence in the previous year. This might suggest an increased investment in children’s programming or a decline in viewership, leading to a higher per-hour cost.
  • BBC Three Variability: BBC Three shows the most variability over the years, which is partly explained by the note stating that BBC Three ceased operations in 2016 and subsequently transitioned to an online platform before returning as a TV channel. The higher costs in the fiscal years 2020/21 and 2021/22 could be associated with the transition back to television broadcasting and the relaunch of the channel.
  • BBC Four and CBeebies: These channels have consistently lower costs compared to the other BBC channels across all years. This could be due to a number of factors, such as more efficient content delivery, programming that is less expensive to produce, or targeting a niche audience that does not require the same budget as mainstream channels.
  • BBC Two: BBC Two’s costs appear relatively stable, with a slight upward trend. It does not show the same level of increase as CBBC or BBC One, indicating a more consistent cost management or stable viewership.
  • 2015/16 to 2016/17 Increase: There was a noticeable increase across all channels from the fiscal year 2015/16 to 2016/17, after which the trend tends to be more gradual for most channels.
  • Year-on-Year Changes: While most channels show an increase in cost in the fiscal year 2022/23 compared to the previous year, BBC Two shows a relatively smaller change, and BBC Four’s costs remain the same. This suggests differing strategies or changes in viewership numbers among different BBC channels.

To summarize, the graph indicates rising costs in delivering TV services over time, with some variability per channel possibly reflecting strategic decisions, changes in operational expenses, or viewership patterns.

The spike in costs for CBBC in the most recent year is particularly notable and may prompt further investigation into the specifics behind this change.

BBC statistics: Radio

The realm of radio broadcasting holds a special place in the heart of the British public, with the BBC leading the charge as a purveyor of auditory content that caters to a wide array of interests and demographics.

As we venture into the “BBC statistics: Radio” section, we are set to unravel the layers of the BBC’s radio broadcasting prowess, marked by a rich heritage and a forward-looking approach to engaging with listeners across the United Kingdom.

This segment shines a spotlight on the most popular radio stations in the United Kingdom, unveiling the champions of the airwaves that have captivated the hearts and ears of millions.

Delving deeper, we examine the BBC radio production cost per user hour by station, a critical analysis that provides insights into the corporation’s financial stewardship and its commitment to delivering value to its audience.

Furthermore, this section presents a comprehensive ranking of BBC Radio stations by listener reach, offering a clear view of which stations boast the broadest appeal. Additionally, we explore the stations ranked by time spent per listener in the UK, a metric that reveals the depth of engagement and loyalty among the listenership.

Through this detailed examination of BBC Radio’s operations and its impact on the British listening landscape, we aim to highlight the enduring relevance and vitality of radio broadcasting in the digital age.

Most popular radio stations in the United Kingdom

The bar graph below shows the most popular radio stations in the United Kingdom for Q3 2022 based on the share of respondents who gave a positive rating.

Here are the insights derived from the graph:


  • Market Leader: Heart FM is the clear leader with a significant margin at 56% of respondents giving it a positive rating. This suggests a robust listener base and strong market presence.
  • Competitive Top Tier: The second to fifth positions are closely contested, with Heart Radio at 46%, BBC Radio 2 at 43%, and both Heart 80s and BBC Radio 1 at 47%. The competition among these stations is tight, indicating diverse audience preferences.
  • Genre Popularity: There seems to be a popularity for stations playing 80s music, as Heart 80s and Absolute 80s both garner significant shares of positive respondents, suggesting a dedicated audience for this genre.
  • Public Service Broadcasting: BBC’s Radio 2 and Radio 1 are both in the top five, indicating that public service broadcasting maintains a strong foothold in the UK radio market.
  • Middle Pack: Smooth Radio, Capital FM, Magic FM, and Absolute 80s show moderate popularity, with shares ranging from 41% to 44%. These stations appeal to a good portion of the audience but sit noticeably behind the market leader.
  • Niche Preferences: Classic FM has the lowest share of positive ratings at 39% among the listed stations. This could imply a more niche audience for classical music or simply less overall listenerships compared to mainstream music stations.
  • Overall Distribution: The graph shows a diverse set of popular radio stations, suggesting different audience segments across the UK. The stations with specific themes like 80s music or classical genres have dedicated yet possibly smaller audiences compared to more mainstream contemporary music stations.
  • Heart Brand: The Heart brand seems to have a strong presence, with two of its stations being the most and the fourth most positively rated, reflecting well on its programming and reach.

It’s important to note that these figures correspond to the positive ratings, which might be influenced by various factors including station reach, programming quality, marketing efforts, and listener loyalty.

The data suggests that UK listeners have varied tastes but show affinity towards certain brands and music genres.

BBC radio production cost per user hour in the UK, by station

The graph below depicts the cost to deliver BBC radio services to individual users per user hour in the United Kingdom (UK) for the broadcast year 2022/2023, measured in pence. Here, we can observe the cost efficiency and resource allocation among various BBC radio stations.

Let’s analyze the significant patterns and insights:


  • Cost Distribution: The graph shows a wide range of production costs across different stations, indicating that the cost per user hour can vary significantly depending on the station.
  • Highest Cost: BBC 1Xtra stands out as the most expensive station to deliver, coming in at 6 pence per user hour. This higher cost could be due to many factors, such as specialized content, lower listener numbers, or higher production values.
  • Other High-Cost Stations: BBC Radio 3 and BBC Asian Network both have a cost of 5 pence per user hour, which is relatively high compared to the other stations. Given that both stations serve niche audiences with specialized content (classical music and Asian programming, respectively), it’s likely that these factors contribute to the higher cost.
  • Mid-Range Costs: BBC Radio 5 live is in the middle range, with a cost of 3 pence per user hour. This may reflect its position as a station that offers extensive live coverage, which can be more resource-intensive to produce.
  • Lower Cost Stations: The vast majority of stations—BBC Radio 1, BBC Radio 4 extra, BBC Radio 2, BBC Radio 5 live sports extra, BBC 6 Music, and BBC Radio 4—are tied at the lowest end of the cost scale, each at 1 pence per user hour. This suggests that these stations are the most cost-efficient in terms of production per user hour or that they benefit from a larger listener base to distribute costs.
  • Comparing Music and Talk Services: With BBC 1Xtra being the highest, followed by a mix of music (BBC Radio 3 and 6 Music) and specialized content stations (BBC Asian Network), we see that music-oriented stations and those with specialized programming appear to have higher production costs. This could be due to the need for royalties, specialized staff, or more varied programming schedules.
  • Economies of Scale: The lower costs for some of the more well-known stations may indicate higher listenership, which allows for the distribution of production costs over a larger number of user hours.
  • Strategic Implications: The BBC may use such data to inform its strategy for allocation of resources and budgeting, seeking potential efficiencies or assessing the value delivered to different audience segments.

To draw a comprehensive conclusion, it’s essential to consider the context—such as programming quality, audience size, and the specific mandate of each station—as well as external factors such as the overall strategic objectives of the BBC and the evolving landscape of radio broadcasting.

BBC Radio stations ranked by listener reach in the United Kingdom

The graph below represents the number of weekly listeners (in thousands) of various BBC Radio stations in the United Kingdom for the first and second quarters of 2023. The bars represent the listener reach for each station, with dark blue indicating the second quarter (Q2 2023) and light blue representing the first quarter (Q1 2023).

The following insights can be drawn from the data presented:


  • BBC Radio 2 is the most popular station, with the highest number of weekly listeners. It experienced a growth in listeners from Q1 to Q2, going from approximately 13.456 million to 14.458 million.
  • BBC Radio 4 (including 4 Extra) and BBC Radio 1 are the second and third most popular stations, respectively. Both stations have more than 7 million weekly listeners, but while BBC Radio 4 (including 4 Extra) witnessed an increase in listeners from around 8.971 million to 9.399 million, BBC Radio 1 saw a slight decline from 7.694 million to 7.576 million.
  • There is a distinct tiering in listener numbers, with the top three stations having a significantly higher reach than the others. Following them, the stations generally decrease in popularity, with stations such as BBC Radio 3, BBC Radio 4 Extra, and BBC Radio 5 Sports Extra all having a listening audience of less than 2 million weekly listeners.
  • The trend from Q1 to Q2 shows that most stations either maintained a consistent listener base or saw an increase. However, there are exceptions such as BBC Radio 1 and BBC Radio 5 live (exclusive of sports extra), which showed a slight decrease in the number of listeners.
  • BBC Radio 5 live (when including sports extra) saw an increase contrary to its main station (BBC Radio 5 live), indicating that the sports segment might have attracted more listeners during Q2.
  • Specialty stations like BBC Radio 3, BBC Radio 4 Extra, and BBC Radio 5 Sports Extra cater to niche audiences with distinct preferences for classical music, additional programming, and sports coverage, respectively. The stable or slightly increased numbers suggest a loyal listener base for those genres.
  • BBC Radio London has the least number of listeners compared to the national stations, suggesting that its content has a more limited appeal or that it faces competition from other local or national broadcasters. It experienced a slight increase from 564 thousand to 607 thousand listeners.

In summary, BBC Radio 2 remains the most popular station, with some stations showing an increase in listenership, while a few have declined or stabilized. The data indicates that there’s a wide range of programming preferences across the UK, and even with the proliferation of digital media, traditional radio stations like these continue to command significant audience numbers.

Please note that while the graph lists weekly listeners in thousands, the accompanying text for convenience refers to total numbers in millions for ease of understanding.

BBC Radio stations ranked by time spent per listener in the UK

The graph below presents data on “Leading BBC Radio stations in the United Kingdom (UK) in 1st quarter 2023, by average hours consumed per listener.” It ranks various BBC Radio stations based on the average hours spent per listener each week during Q1 2023.

Here are several insights derived from the graph:


  • Listener Engagement: BBC Radio 4 (including 4 Extra) has the highest listener engagement, with an average of 12.6 hours spent per listener each week. This suggests that the content on these stations is highly engaging or that the station has a dedicated listener base that tunes in for extended periods.
  • Popularity of Radio 4 Content: When separating BBC Radio 4 from its additional service (4 Extra), both entities individually show a high level of listener engagement, with 12 hours for BBC Radio 4 alone and 6 hours for BBC Radio 4 Extra. This indicates a strong interest in the diverse range of programming offered by Radio 4 and its supplementary channel.
  • Comparison with Other Services: BBC Radio 2 is the second-highest in terms of listener engagement, with 10.6 hours per listener. This is closely followed by BBC 6 Music with 9.9 hours, suggesting that the formats and music on these stations resonate well with their audiences, leading to consistent and long listening sessions.
  • Niche vs. Broad Appeal: There is a noticeable drop-off in hours per listener as we move towards more specialized services like BBC Radio 3, BBC Radio 1, and BBC World Service, which offer classical music, contemporary music, and international news respectively. BBC Radio 1 averages 6.6 hours per listener, equal to BBC Radio 4 Extra, while BBC Radio 3 is slightly higher at 7.2 hours per listener.
  • Sports and Local Programming: BBC Radio 5 live and its extension including sports extra have a lower average listening time compared to the top stations, with Radio 5 live (inc. sports extra) at 5.9 hours and without sports extra at 5.4 hours. This could reflect more selective listening patterns, perhaps with people tuning in for specific games or events. BBC Radio London and BBC Radio 5 Sports Extra have notably lower engagement, at 3.7 and 1.9 hours respectively, potentially reflecting even more specific local interests or niche sports programming.
  • Trends and Implications: Stations with a broad range of programming (Radio 4) or those focusing on popular music genres (Radio 2, 6 Music) seem to keep their listeners engaged for longer durations compared to stations with more specialized content. This could have implications for advertising strategies, content planning, and resource allocation by the BBC.
  • Station Strengths: The data can be used by the BBC to evaluate the strengths of each station. High engagement stations like BBC Radio 4 and Radio 2 may be leveraged for more in-depth or diverse content, while stations with lower average hours may look into programming adjustments to boost engagement.

Overall, the data reflects the diverse listening preferences within the UK and showcases how different stations serve varying listener interests, resulting in distinctive patterns of radio consumption.

BBC statistics: News

In an era where the dynamics of news consumption are continually evolving, the BBC’s role as a trusted news provider remains steadfast, navigating the complexities of delivering factual, timely, and comprehensive news to a diverse audience.

As we delve into the “BBC statistics: News” section, we embark on an insightful journey through the landscape of news sources within the United Kingdom, illustrating the BBC’s pivotal position amid the plethora of options available to consumers.

This exploration begins with an overview of the most used news sources in the UK, shedding light on where the public turns to stay informed in an age of information overload.

We then narrow our focus to television, identifying the TV channels most used for news in the UK, which highlights the enduring relevance of traditional broadcast news in a digital world.

Furthermore, we pivot to the digital realm, examining the leading online news brands accessed in the UK, a reflection of the shifting patterns towards digital news consumption.

This comprehensive analysis not only underscores the BBC’s significance in the UK’s news ecosystem but also provides a broader understanding of how news preferences and consumption habits are changing in the digital age.

Through this section, readers will gain a deeper appreciation of the BBC’s commitment to delivering quality news across multiple platforms, maintaining its status as a cornerstone of reliable information in the UK.

Most used news sources in the UK

Based on the graph above that shows the “Leading news sources in the United Kingdom (UK) from 2018 to 2023,” here are some gained insights:


  • Dominance of BBC One: BBC One has been the leading news source consistently over the years, with the percentage of respondents relying on it for news increasing from 56% to 62% between 2018 and 2023.
  • Rise of Digital Platforms:
    • Facebook has shown significant growth as a news source, increasing from 36% in 2018 to 53% in 2023.
    • Other digital platforms like Twitter, Instagram, and WhatsApp have also seen steady increases in their use as news sources, indicating a broad shift towards social media for news consumption.
  • Decline in Traditional Broadcast: ITV/ITV WALES/UTV/STV experiences a slight decrease from 44% to 40% in the same timeframe, which could imply a shift towards digital news consumption or a change in audience preferences.
  • Stability of BBC Services: The BBC News Channel and BBC website or app show relative stability, with minor fluctuations over the years. They remain stable sources of news for over a quarter of the respondents.
  • Trends in Other Sources:
    • Sky News Channel and Google search engine remain relatively consistent as news sources, whereas The Daily Mail/Mail on Sunday sees a slight decline.
    • BBC Two shows the least growth, suggesting that it may not be the primary news source for many.
  • Diverse News Consumption: The variety of news sources used by respondents reflects a diverse media landscape in the UK, with people engaging with both traditional broadcasting and digital platforms to stay informed.
  • Niche Growth: Some news sources, like Channel 4 and Instagram, show notable growth, which might reflect their success at engaging specific audience segments or demographics.
  • Implications for Media Strategy: This data is useful for media companies and advertisers to understand evolving consumption patterns and strategize accordingly, considering the rise of social media and online platforms.
  • Potential Concerns: The increasing reliance on social media platforms for news could raise concerns about misinformation and the need for more robust fact-checking mechanisms on these platforms.

In conclusion, the data indicates a continued dominance of BBC One as a news source in the UK, alongside a significant and growing use of social media platforms for news consumption. Traditional broadcast sources are experiencing shifts in their audience size, and all news providers must navigate a media environment that is increasingly digital and fragmented.

TV channels most used for news UK

Data source: Ofcom

Leading online news brands accessed UK

The bar graph below illustrates the proportion of respondents who access leading online news brands in the United Kingdom as of February 2023.

Key insights derived from the graph are as follows:


  • Dominance of BBC News Online: The most striking observation is the dominance of BBC News Online, which is accessed by 45% of the respondents, making it the most popular online news brand by a substantial margin.
  • Second-tier Competitors: The Guardian Online, MailOnline, and Sky News Online form a second tier of frequently accessed news sources with 16%, 14%, and 12% of the share of respondents, respectively. While these are significant shares, each of these news brands is accessed by less than a third of the number of individuals who access BBC News Online.
  • Regional or local newspapers: The graph shows that regional or local newspapers online are still relevant, holding an 8% share of the respondents, suggesting that a notable minority of people are interested in local news content.
  • Middle-range news brands: Following the top four are a group of news brands that each have a smaller but still notable proportion of users ranging from 6% for the Telegraph online to 4% for several brands including Metro online, ITV News online, The Times online, and Independent/i100 online.
  • Consistency among other news sources: There is relatively little differentiation among the remaining news brands, which suggests that the online news market, beyond the dominant BBC News Online and the other top-three outlets, is quite competitive with multiple outlets having a similarly modest share of the audience.
  • Presence of international brands: MSN News and Yahoo! News, which have 5% and 4% shares respectively, indicate that international or US-based news sources also have a presence in the UK’s online news consumption pattern.

Overall, the data implies that while there are numerous choices available for online news consumption in the UK, the market is considerably skewed towards a single leading provider, BBC News Online, followed by a handful of other prominent outlets.

Smaller shares for other brands signal a diverse landscape in which many brands compete for a more limited audience base. The significant lead of BBC News Online might reflect a strong trust and reputation in the organization’s news reporting within the UK.

BBC statistics: Digital properties

In the swiftly evolving digital landscape, the BBC’s digital properties have emerged as key players, adapting to new consumption habits and technological advancements to meet the audience’s changing needs.

The “BBC statistics: Digital properties” section offers a deep dive into the realm of digital consumption, where time spent, viewer engagement, and platform preferences paint a vivid picture of the modern media ecosystem in the United Kingdom.

This analysis begins with a look at the time spent on selected video platforms per day in the UK, providing a snapshot of how digital video consumption stacks up against traditional television viewing.

We then expand our view to encompass the total content viewing hours across various streaming services, illustrating the competitive environment in which the BBC operates and thrives digitally.

Specifically, we scrutinize the BBC iPlayer’s performance, breaking down viewing time by device to understand the multifaceted ways in which audiences engage with content.

Additionally, this section explores the leading websites in the UK based on visit share and the leading mobile apps by average time spent, highlighting the BBC’s digital footprint beyond its streaming service.

Finally, we focus on the realm of mobile entertainment, examining the top iPhone entertainment apps in Great Britain by downloads, where the BBC’s digital offerings continue to resonate with users.

Through this comprehensive overview, readers will gain insights into the BBC’s strategic positioning and adaptability within the digital domain, affirming its commitment to innovation and audience engagement in an age dominated by digital media.

Time spent on selected video platforms per day UK

The bar graph below illustrates the daily time spent by users in the United Kingdom on selected online video and streaming platforms in October 2021, measured in minutes per day.

Key insights gleaned from the graph include:


  • YouTube as the top platform: YouTube stands out as the most heavily used video platform by a significant margin, with users spending an average of 70.3 minutes per day. This indicates a high level of engagement with the platform, which could be due to the vast diversity of content available that caters to a broad audience.
  • Netflix’s substantial engagement: Netflix is the second most popular service, with users spending an average of 43.5 minutes per day. This suggests a strong preference for on-demand streaming services that offer a variety of TV shows, movies, and original content.
  • Moderately used services: Amazon Prime Video and BBC iPlayer show moderate daily usage at 22.7 and 17.7 minutes respectively. These figures indicate that while these platforms are popular, they are not as dominant in daily usage compared to YouTube and Netflix.
  • Limited engagement with All 4: All 4 has the least usage, with users spending only 3.1 minutes per day. This might reflect less content diversity or fewer subscribers compared to the other platforms, or that it serves as a supplementary service to the others.
  • Streaming services vs. broadcaster platforms: The graph highlights a clear distinction between global streaming giants like YouTube and Netflix versus broadcaster-related platforms such as BBC iPlayer and All 4. The higher numbers for YouTube and Netflix could be a testament to their larger libraries and more versatile content offerings.

Overall, the data suggest that there is a wide disparity in user engagement across different online video and streaming platforms in the UK. YouTube’s top position may be due to its free access and vast array of user-generated content, while Netflix’s strong showing likely stems from its premium, curated content library.

In contrast, the lower figures for Amazon Prime Video, BBC iPlayer, and All 4 may indicate niche audiences or suggest that these services complement rather than replace the viewing time users spend on the more dominant platforms.

Total content viewing hours of various streaming services in the UK

The graph below illustrates the total content viewing hours of selected video streaming services in the United Kingdom for May 2022 and May 2023.

The following insights can be derived from the data:


  • Netflix Dominance: In both years, Netflix has the highest number of viewing hours, suggesting it is the most popular streaming service in the UK. The service shows a growth from approximately 39,000 hours in 2022 to over 40,000 hours in 2023.
  • Amazon Prime Video in Second Place: Amazon Prime Video is the second most popular service. It maintains its position with a slight increase in viewing hours from about 31,000 to over 32,000.
  • Discovery+ and NOW: Both Discovery+ and NOW show substantial growth. Discovery+ went from roughly 17,000 hours to over 19,000, and NOW from about 14,000 to over 17,000, showcasing that their influence and viewership have expanded between 2022 and 2023.
  • Disney+: Disney+ stands out with significant growth, showing an increase from around 14,500 to nearly 17,500 viewing hours.
  • BBC iPlayer and Channel 4: Both services have seen moderate increases, reflecting stable viewership with marginal growth.
  • Smaller Services: Services like Freevee, ITVX, Pluto TV, Britbox, Paramount+, UKTV Play, and My5 account for much fewer viewing hours. While they do have their audiences, their viewing figures are dwarfed by the larger providers. Nonetheless, ITVX and Pluto TV demonstrate substantial growth year over year.
  • Year Over Year Growth: Almost every service has shown growth from 2022 to 2023, indicating an overall increase in streaming consumption in the UK.

In summary, the UK’s streaming landscape is characterized by a mix of global giants like Netflix and Amazon Prime Video, which dominate the market, and a spectrum of smaller, more specialized services. The overall trend is towards increased usage of streaming services, with particularly noteworthy growth for platforms like Disney+, Discovery+, and NOW.

This could reflect a diversifying marketplace with platforms carving out their niches, either through distinctive content offerings or by catering to specific audience segments. The data reflects the ongoing shift in content consumption from traditional broadcast media to on-demand digital streaming services

BBC iPlayer viewing time in the United Kingdom, by device

The graph below shows the viewing time for BBC iPlayer both on-demand and live streaming in the United Kingdom (UK) from July 3 to 9, 2023, differentiated by the type of device used (in million minutes).

Here are the key insights derived from the data:


  • On-demand viewing dominates: The first trend is that on-demand content consumption is significantly higher across all devices when compared to live streaming. This suggests a strong preference for on-demand viewing, allowing users to watch content at their convenience.
  • Tablets are the most popular device for on-demand content: Tablet users have the highest on-demand viewing time at 405.03 million minutes. This indicates that the tablet’s form factor may be particularly well-suited for consuming digital media on the BBC iPlayer platform, possibly because it strikes a good balance between screen size and portability.
  • Smartphones are more for live streaming: When it comes to live streaming, smartphones see considerably more usage (95.85 million minutes) compared to tablets (159.51 million minutes), which is closer to the on-demand usage numbers than tablets are. This could be because smartphones are always with the user, making it easy to access live content when away from home.
  • The role of PCs/Laptops: While PC and laptop users engage substantially with both on-demand (99.42 million minutes) and live streaming (80.02 million minutes), the total number of minutes spent is less than half of that spent by tablet users for on-demand content. This may reflect a trend toward mobile devices for media consumption, though PCs and laptops still hold a significant position, particularly for live content.
  • Overall viewing time distribution: The aggregate viewing time shows that, across all devices, on-demand viewing amassed 784.73 million minutes compared to live streaming at 383.19 million minutes. This emphasizes the dominance of on-demand viewing for BBC iPlayer during this period.

Based on the data, content providers like the BBC could prioritize improving the on-demand experience on tablets since it is the most used device for this service. Additionally, the high use of smartphones for live streaming suggests that there is an audience for live content when on the go, which could be an area of focus for further optimization or marketing efforts.

The significant gap between on-demand and live streaming viewership also suggests that on-demand content is more in line with current consumer behavior and trends.

Leading websites in the UK, based on visit share

The graph below illustrates the most popular websites in the United Kingdom as of April 2023, ranked by their share of visits.

To provide a comprehensive analysis, let’s consider the data presented:


  • Market dominance by Google: leads with a significant margin, securing 16.41% of the share of visits. This highlights Google’s dominant position as a search engine, indicating that it is likely the primary starting point for many users’ online activities in the UK.
  • Video content popularity: is the second most visited site, with 12.02%. As a video sharing platform, its significant share underscores the popularity of video content and streaming services in today’s digital consumption patterns.’
  • Social media engagement: holds the third position at 3.16%, representing a substantial portion of the UK’s online social activity and time spent on social networking sites.
  • National broadcaster’s online presence: The BBC’s website,, has a 2.32% share, which suggests that a sizable number of visits are geared towards news, entertainment, and information from a trusted national broadcaster.
  • E-commerce activity: has a 2.02% share of visits, showing that e-commerce is a key part of online activity in the UK, with Amazon being a go-to platform for online shopping.

Additional insights can be derived as such:

  1. The drop from YouTube to Facebook is notable, suggesting a tiered structure in website popularity where Google and YouTube form the top tier, Facebook stands as a mid-tier, and sites like and, while popular, are much less frequented.
  2. The lack of other social media platforms, search engines, or e-commerce sites in this list could either mean a high level of consolidation in these sectors or that other competitors have shares that are much smaller by comparison.
  3. The percentages also suggest that the remaining share, amounting to over 75% of visits, is distributed among a wide variety of other sites, indicating a long-tail of less visited websites that cater to niche interests or have smaller user bases.

Overall, the graph depicts a landscape where few websites command a majority of the web traffic, indicative of users’ reliance on a select number of platforms for their daily online needs, ranging from searching for information and watching videos to social networking and shopping.

Leading mobile apps in the UK, by average time spent

The graph below represents the most popular mobile apps in the United Kingdom (UK) in March 2023, ranked by the average time spent per user on each app (in minutes: seconds format).

Key insights from this graph include:


  • Facebook & Messenger are the most used: It tops the list with users spending an average of over 1158 minutes per month, which translates to roughly 19.3 hours. This indicates that Facebook, along with its Messenger app, remains a significant platform for social interactions in the UK.
  • High engagement on social media and communication apps: Snapchat and TikTok follow Facebook & Messenger with 947:03 and 877:04 minutes respectively, showing that these social media platforms are highly engaging and possibly popular among younger demographics given their nature of short, captivating content.
  • YouTube as a leading video platform: YouTube stands out as the most popular video content platform with over 708 minutes spent, equating to almost 11.8 hours per user per month, which signifies its role as a key source of video entertainment, tutorials, news, and more.
  • Search and web browsing: Google shows significant usage with 525:52 minutes, emphasizing its role in everyday web searching and browsing activities.
  • Instagram and WhatsApp’s stable user engagement: Instagram and WhatsApp, both owned by Facebook’s parent company, Meta, show moderate engagement levels compared to the top three platforms, with 426:31 and 309:53 minutes, respectively. This suggests steady usage for photo-sharing and messaging.
  • BBC’s digital presence: The BBC app demonstrates notable engagement at 237:55 minutes, signifying the importance of traditional content providers adapting to digital platforms to meet user habits.
  • E-commerce and service utilization: Amazon’s app usage at 185:3 minutes reflects its position as a key player in UK e-commerce, while Microsoft’s presence at 149:17 minutes might be attributed to productivity and service-related usage.

The overall trend indicates that social media apps command the most significant time investment from users in the UK, which can have implications for digital marketing, consumer behavior analysis, and the role of these platforms in daily life.

Video content and eCommerce also show substantial engagement, pointing to these as key areas of online activity. This data can be of interest to app developers, marketers, and businesses looking to understand user behavior and focus their strategies accordingly.

Leading iPhone entertainment apps in Great Britain, by downloads

The bar graph below illustrates the number of downloads for leading iPhone entertainment apps in the Apple App Store in Great Britain during September 2022.

Here are some observations and insights from the graph:


  • TikTok’s Dominance: TikTok, labeled as “Videos, Music & LIVE,” ranks first by a significant margin, with approximately 370,613 downloads. This highlights the app’s immense popularity and its widespread reach among British iPhone users.
  • Strong Performance by Disney+: Disney+ comes in at a distant second with around 203,647 downloads. Its position suggests a robust market presence, possibly due to its family-friendly content and strong brand influence.
  • Competitive Streaming Services: Amazon Prime Video and Netflix are nearly equal in downloads, with around 119,457 and 115,218 downloads, respectively. This indicates a closely competitive field among streaming services, with users showing significant interest in both platforms.
  • Local Content Providers: “All 4 – Watch Live & On Demand” and “BBC iPlayer” are UK-based broadcaster apps. Their presence in the list with 112,788 and 74,245 downloads shows that local content still has a notable following in the digital space.
  • Event and Ticketing Apps: Ticketmaster UK and Eventbrite apps show that there’s a substantial number of users looking to attend events, suggesting the ongoing demand for live events and ease of access to tickets through these services.
  • Niche Entertainment: The graph also includes “Drinkopoly: Drinking games 18+” and “Face Dance: Photo Animator App,” with 61,145 and 51,535 downloads, respectively. These apps, catering to specific recreational and entertainment niches, have gained enough traction to be featured on the list.

Analyzing this data, stakeholders such as app developers, marketers, and investors can gain insights into user preferences within the entertainment category of the UK iPhone app market. For instance, the popularity of TikTok might influence marketing strategies that incorporate short-form video content.

The strong showing of streaming services could encourage further investment in original content and competitive subscription models. Additionally, the interest in local broadcaster apps may suggest that integrating on-demand and live TV capabilities is beneficial. Altogether, these insights provide a snapshot of where British users are spending their digital leisure time as of September 2022.


In conclusion, the exploration of 20 pivotal BBC statistics provides a comprehensive snapshot into the enduring legacy and evolving dynamics of one of the world’s most venerable broadcasting institutions.

Through an in-depth analysis spanning television, radio, news, and digital properties, we gain invaluable insights into the BBC’s strategic maneuvers to stay at the forefront of the global media landscape.

Despite facing the challenges of an increasingly fragmented media environment and the relentless rise of streaming platforms, the BBC has demonstrated adaptability and resilience.

The statistics underscore its commitment to delivering quality content across various mediums, maintaining its relevance and appeal in the digital age.

As the BBC continues to navigate the complexities of modern media consumption, its ability to innovate while upholding its public service mandate will undoubtedly shape its trajectory in the years to come.

This article not only showcases the BBC’s current standing but also invites reflection on the future of broadcasting, emphasizing the importance of balancing tradition with innovation in an era marked by rapid technological advancements.

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Sarah Thompson

Author & Editor

About the Author

Sarah, a University of Southern California graduate in Information Technology, is a seasoned IT professional and cybersecurity specialist with over a decade's experience. She honed her skills at a leading cybersecurity firm, specializing in data privacy and VPNs. Her meticulous approach and extensive hands-on experience make her a respected author and trusted voice in the industry, particularly on VPN and streamiing services.

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