20 BBC Statistics: Streaming Data Analysis

Insights

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.

Insights

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.

Insights

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.

Insights

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.

Insights

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.

Insights

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.

Insights

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.

Insights

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.

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.

Insights

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.

Insights

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.

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.

Insights

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.

Insights

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.

Insights

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.

Insights

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.

Insights

Market dominance by Google: Google.com 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: YouTube.com 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: Facebook.com 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, bbc.co.uk, 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: Amazon.co.uk 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.

Insights

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.

Insights

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.

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