More than half (56%) of adults in the UK, Germany, Spain, Italy and France are willing to watch ads on TV in exchange for in response to the rising costs of streaming subscriptions, reveals a Samsung Ads Europe consumer study.

 The report, the 2021 Connected TV Viewer, conducted by Ipsos, surveyed more than 5,000 consumers with a smart TV to further explore the market context and understand the cultural influences shaping the role of the smart TV within the home. It fundamentally found that recommendations key to helping viewers find what they want to watch.

The data revealed that the smart TV audience in the countries had an overwhelmingly more positive attitude to ads on TV compared with other devices and were at least twice as likely to consider them better quality, entertaining and eye-catching, versus ads on other devices in the home. Almost two-fifths thought ads on smart TV were high quality compared with 11% on mobile or 8% on laptop/desktop, while 37% thought ads on smart TVs were entertaining versus 15% on mobile and 8% on desktop.

Streaming was revealed to be a shared experience. Nearly three quarters (72%) of the smart TV audience said they would mostly turn to streaming services when they want to sit down with others to enjoy a programme together compared with just 18% mostly turning to linear TV, while 73% mostly chose to turn to streaming for an entire evening of viewing. In comparison 19% would turn to linear TV. In addition,78% of EU smart TV users mostly stream when they are looking for something new to watch, with only 14% considering linear TV as a channel for discovery. However, live events such as news and sport are largely still linear experiences. Families with children have greater engagement with both smart TVs and streaming, watching more often and for longer than those without children.

Two-thirds of the smart TV audience (67%) agreed that they had more than enough choice when it comes to content to watch on the services they have access to. However, the research highlighted the role that Smart TVs can play in enabling audiences to find the content they like quickly. Two-thirds (66%) of the smart TV audience suggested that recommendations on their TV home screen based on shows they or their household have watched across services would be appealing.

Looking at moments when the smart TV audience were not quite sure what to watch, only 21% would be likely to go straight to an app, with 64% likely to look at information on their smart TV home screen to help guide their decision making. This shows that the smart TV can act as a gateway, reducing content overload for viewers and acting as a key portal to the best content.

The study also found that YouTube and its rival Dailymotion had been viewed on smart TVs by 38% of viewers in the last three months while 27% had used their smart TV as a music player and 19% for browsing the internet. The survey showed that multiple functions of smart TVs were reflected in the emotional needs the audience sees their smart TV fulfilling: 9% of those surveyed best identified their r as being a source of education or instruction; 12% of the Smart TV audience have watched cooking videos; 10% watched other types of tutorials through their smart TV in the past three months.

“What we can see is that the Smart TV is becoming a multi-purpose facilitator for entertainment, connection, learning and more. Viewers’ willingness to watch ads in exchange for free content combined with the perception of ads on TV is an exciting opportunity for advertisers trying to reach streaming audiences through ad funded streaming platforms,” said Alex Hole, vice president of Samsung Ads Europe commenting on the 2021 Connected TV Viewer report.

“As consumers look to free ad-supported TV content, the end consumer expects high quality content and advertising on the biggest screen in their home. This reflects what we have known instinctively; to fit into a premium advertising channel, the ads must be premium, too.”



TV companies around the world celebrate World Television Day on 21 November to remind us of television’s continuous and profound transformation to become TV, a Total Video experience. As part of the annual United Nations initiative, a 30 second-spot will be broadcast and shared online worldwide as an invitation to discover it all.

Tomorrow’s TV, created today

Brussels, 19 November 2021 – For this special edition – the 25th anniversary of the initiative launched by the UN in 1996 – World Television Day celebrates a truth that holds around the globe: TV has evolved to become much more than it used to be. TV is now available at all times, at home and on the go, across all screens – large or small – live or streamed; offering both collective and feel-like-me experiences. TV is also measurable, connected, personalised and targetable.

“TV has connected us all during the COVID-19 pandemic, keeping us informed, educated, entertained and even inspired. During the recent COP26 Conference, broadcasters from across the globe played an essential role in showcasing the challenges and solutions when we work together to combat climate change. Long live television as a unifying medium!” says Caroline Petit, Deputy Director & Officer in Charge, United Nations Regional Information Centre for Europe (UNRIC).

“It is fitting that on this occasion, the 25th anniversary of World Television Day, we not only look back upon the unwavering evolution of TV, but also keep a keen eye on the future. It is truly the DNA of our medium to continuously transform and meet the needs of our time, providing viewers, TV companies and marketers alike with new platforms, new possibilities and new ideas. With this in mind, we eagerly look forward to the next 25 years and the many innovations TV will bring to provide an even more compelling experience,” asserts Katty Roberfroid, Director General, egta.

For more information, please visit

Press contacts:

  Alain Beerens, MarCom Manager, egta Association of television and radio sales houses T : +32 2 290 31 38  


The Global TV Group is a grouping of broadcasters’ and sales houses’ trade bodies in Europe, the USA, Canada, Australia and Latin America, whose joint objective is to promote television and remind advertisers, journalists, agencies and industry peers about the effectiveness and popularity of TV.


The European commercial broadcasting sector is a major success story. We entertain and inform hundreds of millions of EU citizens each day via thousands of channels available across Europe. The Association of Commercial Television in Europe represents the interests of 29 leading commercial broadcasters across Europe. The ACT member companies finance, produce, promote and distribute content and services benefiting millions of Europeans across all platforms.  At ACT we believe that the healthy and sustainable commercial broadcasting sector has an important role to play in the European economy, society and culture.


The European Broadcasting Union (EBU) is the world’s foremost alliance of public service media (PSM). Our mission is to make PSM indispensable. We represent 115 media organizations in 56 countries in Europe, the Middle East and Africa; and have an additional 31 Associates in Asia, Africa, Australasia and the Americas. Our Members operate nearly 2,000 television and radio channels alongside numerous online platforms. Together, they reach audiences of more than one billion people around the world, broadcasting in more than 160 languages. We strive to secure a sustainable future for public service media, provide our Members with world-class content from news to sports and music, and build on our founding ethos of solidarity and co-operation to create a centre for learning and sharing.

ABOUT egta

egta is the association representing television and radio sales houses, either independent from the channel or in-house, that markets the advertising space of both private and public television and radio stations throughout Europe and beyond. egta fulfils different functions for its members in fields of activities as diversified as regulatory issues, audience measurement, sales methods, interactivity, cross-media, technical standards, new media, etc. During its more than 40 years’ existence, egta has become the reference centre for television and radio advertising in Europe. egta counts more than 160 members operating across 43 countries.


The Brussels-based United Nations Regional Information Centre for Europe – UNRIC – provides information on UN activities to 22 countries and is active on social media and websites in 13 languages. It acts as the European communication office of the United Nations and its aim is to engage and inform European citizens about global issues. It also liaises with institutions of the European Union in the field of information. Its outreach activities, joint public information campaigns and events are organized with partners including the EU, governments, the media, NGOs, the creative community, and local authorities.


The latest edition of TV Key Facts is titled ‘Restart.’

We are in the midst of a shift to a new era where media, consumers and brands are building the world of tomorrow together, combining the best of innovation with sustainable and responsible practices. The TV Key Facts report assembles trends, research and data to provide a local and global view of the future of the media and advertising industry. Here is a summary of the main findings concerning total video consumption and content trends. More data and insights covering topics such as the advertising market, ROI, audience measurement and CSR can be found on the TV Key Facts website and online database, as well as at the upcoming live event.

Time spent watching video is at an all-time high

2020 was a year of upheaval. Lockdown life caused a reset in people’s free time and therefore consumption habits. We saw the renaissance of the living room as people invested in home comforts such as new screens and sofas. Total video consumption exploded across the world, with viewing figures averaging at approximately 5 hours per day across the world (up to 05:53 in the US)*, proving the ongoing importance of TV and video content. However, the media landscape is rapidly changing and fragmenting. In terms of time split between methods of consumption, linear TV still takes the lead in Europe, but video on demand (VOD), on-demand TV, short-form video and pay-per-view TV are increasingly important. Still, trends differ a lot from country to country. In the UK, live TV represents just 54% of video consumption, while in Spain and Italy this figure is 80%*.

TV is the global video platform

In 2020, the global average daily TV viewing time increased by 6 minutes*, while in Europe average daily consumption reached 3.54 hours*. Naturally, as we return to ‘normal’ and spend less time at home, this will decrease as we have already seen in 2021. Yet, we have also witnessed TV viewing times increase since before the pandemic, increasing by 20 minutes in the second quarter of 2021 compared to in 2019*. In certain countries, such as France, the Netherlands and Germany, we expect TV consumption to remain higher than 2019 rates.

CTV benefited from lockdowns

The TV screen is fast becoming a vessel for all types of video consumption, with more than 50% of European households equipped with connected TVs (CTV)*. Although penetration of CTV is high, there are vast local differences – there is 60% penetration in Germany compared to 36% in Portugal*. Yet the popularity of this medium is only increasing. In the UK the number of users accessing the internet through a TV set (at least once a month) surpassed the forecast of 38.6 million, reaching 41.1 million in 2020*. More than half of VOD and YouTube content is consumed through a connected screen. VOD is truly the future of video, with everything right down to TV remotes making VOD ever more accessible.

Community and conviviality have never been more important

TV has proven to be the medium that unites, reassures, informs and entertains. From vital news updates about the pandemic to entertaining and comforting people through the long months of lockdown, TV has been the medium that has eased people through these hard times. Experiencing a sense of collectivity was super important during the pandemic and we saw people gather around their TVs, whether to watch news or entertainment formats. 105.8 million Europeans followed the lockdown announcements on TV, and reality programs saw a boost with a 21% increase in the top 10 programs*. One of linear TV’s biggest strengths is the shared viewing experience of entertainment: you don’t want the results of a competition to be revealed by your friends or the media.

Nevertheless, the boundaries between VOD and linear TV are blurring. In the past, VOD focused on fiction and documentaries, while now it is diversifying, offering more ‘TV-like content’ such as sports programs (Roland Garros on Prime Video), or local entertainment or reality TV (Too Hot to Handle on Netflix). Equally, TV channels are developing high-end fiction and documentaries for their own VOD platforms (Sisi on RTL in Germany, Gangs of London on Sky in the UK and La Mia Jungla on Rai in Italy to name a few). In terms of fiction, there is a move away from Hollywood international super-productions toward local series. In Europe, local series are performing best in all markets, whether it’s TV viewing or VOD. Similarly, there’s an emergence of non-English titles, as seen recently with the huge success of Squid Game, viewed by 111m accounts since its launch in September – 95% outside of South Korea.

Local VOD champions versus global players

Competition is consistently getting fiercer, with all players investing massively in new content such as Disney, Discovery, Netflix… VOD is getting closer to TV and broadcasters are investing in content production not for their TV channels but for their own VOD platforms. The number of subscription video on demand (SVOD) services available in each country reached unprecedented levels, with 34 in France, 29 in the UK, 28 in Germany and 19 in the Netherlands*. However, this is an overload – there are only so many services a user can subscribe to. At the heart of the battle is the quality of content – viewers are willing to watch advertising if the content they watch afterward is premium. Today most qualitative VOD offerings don’t offer advertising, which limits the opportunities for visibility for advertisers. However, we are beginning to see more hybrid platforms with subscription-based models that also offer ad-free options. Additionally, advertising-based video on demand (AVOD) offerings are on the rise, which provide benefits for both users and advertisers, decreasing costs per household of video content subscriptions for the former and allowing the latter to reach much-wanted younger viewers.

The living room has become the point of connection between advertisers and European consumers. Advertisers need to understand the changes taking place as they seek to engage with people in their home environments. The Total Video Key Facts report and event provides advertisers with all they need to navigate this evolution.

The latest edition assembles data and insights from the current industry leaders across the globe, who discuss the renaissance of the industry and the future life of the living room.

  • Access the latest articles and interviews at
  • Request your personal access to the online research report via
  • Discover the latest media and advertising international trends on December 7 during the ‘Total Video Key Facts 2021’ global online talk. Register here.

*All statistics (and more) can be found in the TV Key Facts report, on our website and on our online database.



Booming online-born brands and online giants are placing their trust in TV.

As TV investments surpass pre-pandemic levels around the world, newly released international figures showcase how both direct-to-consumer brands and online giants are increasingly embracing TV to get their message across.

The Global TV Group, the grouping of TV companies and sales houses’ trade bodies in Europe, the USA, Canada, Australia and Latin America, has released a new topical update of its Global TV Deck with figures from 15 markets across the globe.

The compendium shows how from 2015 to 2020 the total TV spend more than doubled for direct-to-consumer brands, companies that sell their product or service directly online to end customers without involving third-party retailers, wholesalers or other parts of the traditional consumer supply chain.

In this collection of charts, marketers will find, for example, figures showing that:

The collected data also reflects that FAAAM, which stands for Facebook, Apple, Amazon, Alphabet (Google’s parent) and Microsoft, recognise TV as a valuable means of driving growth and use it more than ever to communicate.

Collectively, the five major tech companies would rank as the #1 TV spender in the U.S.  The data also shows that accumulated TV spend of the FAAAMs ranks them collectively as the second-largest advertiser in Germany and Canada, and among the three largest TV ad spenders in the UK.

The collected figures underline this rise in investments to be a reality in the different markets (such as France, Italy, Spain and more), with the tech giants consistently listed in the top 10 of largest TV advertisers.

As the giants branch out to other media, multiscreen TV provides them with the unmatched scale needed to grow their customer base. Updated figures from 27 markets, which are also gathered by The Global TV Group, demonstrate TV is particularly good at providing mass reach. These figures are also freely available here.

The Global TV Deck update can be downloaded on the Global TV Group website.

Sean Cunningham, President of The Global TV Group and CEO & President of the VAB:
In their DNA, DTC brands and major technology companies are data-driven and laser-focused on what will drive outcomes. It’s no surprise then that they are some of the biggest TV spenders globally as their investment continually enables them to meet and exceed full-funnel business KPIs.

Katty Roberfroid, Director General, egta:
“The meaningful insights gathered by the Global TV Group strikingly showcase that companies of all shapes and sizes embrace TV to catapult their brands to fame. Brands born on the internet and online giants alike put their trust and ad dollars in our medium – and this new compilation of industry-audited data allows us to look beyond our boundaries and see that this trend holds true across the globe.”



There is high demand from e-commerce and retail advertisers as well as food & beverage producers. The interest in TV advertising is strong, confirms Jan Vlček, CEO of Nova.

The TV Nova group has been reporting a growth in demand for TV advertising since this spring and the interest has been growing every month. For now, Jan Vlček, CEO, does not comment on how the increased demand will be reflected in the price of TV ads on Nova’s channels. However, he indicates that trading the TV ad space for the next year has already started.

Particularly in the second quarter of this year, ad monitoring noticed an increase in the TV ad volume. What is your view of the course of the spring and summer months on Nova’s stations?

We have seen a growth in demand year on year, it has even exceeded our expectations. The trend continues, which means that some TV stations on the market are sold out.

The coronavirus pandemic has made changes in advertisers’ business decision-making and customers’ purchase behaviour. How has this fact mirrored in what advertisers expect from TV advertising?

In terms of market structure, a new business has definitely appeared: a number of clients came from other media types to test TV as a new option. Naturally, e-commerce, predominantly the fashion segment, produced very strong demand. And of course, retail benefited much from the existing situation. Food & beverage has experienced a year-on-year growth, including alcoholic beverages. Operators are also strong as usual.

A new aspect in campaign planning has emerged. The planning time has significantly shortened, we have more ad hoc requirements. Clients were forced to act fast and respond to the existing situation on the market. They expect the same from us. This means that we are markedly more flexible now when planning and booking campaigns.

Advertisers who were more cautious in making year-long agreements for 2021 have already used up all of the yearly capacity. Concluding contracts for additional volumes in the autumn season is more complicated due to the high demand.

What is your solution?

We have no problem with the ad space, there are few of us on the market who have sufficient ad space. But we do not offer any additional bonuses to advertisers who have used up their communication volumes despite the fact that they subsequently provide additional finance. Clients will thus achieve better prices if they guarantee the total amount straightaway. With this approach they get to a more favourable price level. 

Has the number of advertisers using TV ads increased compared to the pre-Covid period?

Yes, it has. We see an increased number of entities advertising on TV compared to both 2020 and 2019.

Does this apply to this autumn as well?

The positive trend that started at the end of the first quarter will continue in the autumn.

How can this impact the price of TV advertising for the next year? Information about a double-digit increase is leaking. Can you specify your estimate of price development?

We will announce our business policy for 2022 in October. We certainly notice the signals of market expectations but we are not going to comment on them. Nevertheless, this expectation reflects in the decision of a number of clients to conclude contracts for 2022 now under this year’s price policy.

Will you satisfy the requests?

Of course, deals for 2022 are being made.

What level of sold out ad space do you consider optimal to keep the quality of communication? And what will you do to succeed in maintaining the level?

The optimal level of sold-out ad space is the level that is comfortable for viewers. It is not beneficial for anyone when viewers feel overwhelmed by advertising.

We are doing our best to keep exclusivity of programming and ad space. We are investing in premium content, keeping the planned inflation rate and stable performance. This summer, we were boosting our programme continuously and added a number of premieres. Apart from films, we provided the series Hasiči and premiere episodes of Kameňák. We appreciate that our new owner, the PPF group, supports us in this effort, moving our services to a higher level. It also increases quality and develops content. This year, we have increased our investments in programming by about 30% compared to previous years.

This summer, Nova launched two new paid channels Nova Sport 3 and Nova Sport 4. Will they participate in ad sales? And will the method of selling ads on paid channels change?

Nova Sport 3 and Nova Sport 4 have already been part of the sale and its method has not changed. They are premium paid channels that are not part of TV measurement and are not sold based on GRPs. We are happy to offer our clients exclusive new content including the German, Spanish and Italian football leagues and predominantly the Champions League. We are discussing an increase in the coverage of the stations now. At the same time, we are planning to launch another nationwide free-to-air TV station – Nova Lady. It will be intended mainly for women and will be included in the package of Nova’s measured stations.

What development do you expect in terms of TV ad demand in the first half of 2022?

We have positive expectations concerning next year. TV has long been the strongest ad medium and interest in TV has been growing.



Stock trading volumes in the United States have soared over the last year and much of it seems to be driven by retail investors. With thousands of stocks to choose from, what factors influence investors’ decisions? In a new Cornell study, published Aug. 10 in Management Science, researchers show that advertising is one of the most noteworthy influences behind retail stock investing. Jura Liaukonyte, the Dake Family Associate Professor at the Charles H. Dyson School of Applied Economics and Management, and her co-author found that 15 minutes after a TV ad aired a number of investors sought out financial information about the advertiser.

This results in an average of a 3% increase in online searches to the Securities and Exchange Commission’s Edgar database of company filings and an 8% increase in Google searches.

The nature and timing of the ads made a difference. For example, commercials aired during prime-time hours and involving the financial sector sparked the strongest investor response. Ads for

pharmaceutical products and consumer staples also generated more interest.

Products with names that matched or shared similarities with the name of the publicly traded company itself spurred greater reaction. The most influential commercials were longer, aired first among several commercials during ad breaks, and surfaced in new – rather than long-running – campaigns.

“The evidence presented in our paper suggests that the advertising effect on investor actions is more immediate and far-reaching than has previously been documented,” Liaukonyte said. “The advertising-induced trading volume is less than 1% of the advertiser’s stock on a given day, but this increase is notable and isn’t an insignificant number.”

The study additionally explored a sample of 495 firms on Robinhood, the online trading platform, over 2019-20. These results indicate that the hourly turnover of retail investors holding a specific stock on Robinhood is 24% higher when a TV ad for that company is aired in that hour. This number rises to 28.7% for ads that were aired during live programs such as sporting events.

“One aspect that is surprising is that we found that television ads also trigger investor interest and subsequent trading in the advertiser’s closest rival, major suppliers and other firms,” Liaukonyte said.

Liaukonyte worked with Alminas Zaldokas, an associate professor of finance at the Hong Kong University of Science and Technology, on the research.

The study suggests that firms might benefit from placing more ads after releasing announcements about impressive financial performance or after their key competitors release positive financial performance results to counterbalance the increased investor attention targeted to rivals.




An overview of linear TV consumption and daily reach in Australia, Germany, the United Kingdom and the United States in Q2 2021.

  • Linear TV consumption and daily reach have fallen from their pandemic highs but remain above their pre-COVID levels.
  • Despite this, linear TV advertising spend does not show the same recovery.
Source: Samba TV

Linear TV consumption and daily reach have fallen from their pandemic highs but remain above their pre-COVID levels, according to data from smart TV devices from viewership data company Samba TV.

In Q2 2021, linear TV consumption has fallen for all four countries when compared to the number of minutes watched one year earlier. This ranges from a 5% decline in Australia to a 14% drop in the United States.

However, Q2 2021 consumption remains significantly above pre-pandemic levels. Linear TV consumption is up by 74% in the United Kingdom from Q2 2019 levels, with Germany seeing the smallest increase at a still substantial 28%.

Source: Samba TV

The same trend is visible in linear TV’s daily reach – all four countries have seen a double-digit decline when compared to Q2 2020. However, reach is higher in Australia (7%), Germany (6%) and the United Kingdom (4%) than the level before the pandemic.

Only in the United States is this not true, with daily reach being down by 9% from the level in Q2 2019.

Although connected TV audiences have grown in importance, linear content remains fundamental. As a result, some advertisers have been using video-on-demand platforms to achieve incremental reach.

Despite audience activity being above pre-pandemic levels, linear TV advertising does not show the same recovery. WARC Data forecasts a 11% decline in investment between 2019 and 2021 in the United States and a 2% drop in the United Kingdom and Germany. Australia is the only country to see TV ad spend grow, up 2% from 2019. Source:



The clients’ initial cautiousness disappears and TV ad autumn might be strong as indicated by the estimates of TV market development.

According to Nielsen Admosphere’s AdIntel monitoring, the volume of TV advertising got to its high this year in May and increased by nearly a third compared to last May. It was one tenth higher than monitored investments in TV ads in May 2019. In the first months of this year, TV ad investments were affected by TV advertisers’ cautiousness due to the pandemic situation, which was also seen in April. On the other hand, as mentioned above, this May was favourable to investments and could signal increased interest in the coming summer and autumn months.

“The first months of this year were significantly impacted by the pandemic and government measures that complicated sales of products and services of a number of advertisers. As a result, they had to redirect their communication to other goods or offerings, or postpone their investments to a later period after restrictions are relaxed. In spring, we also witnessed more frequent ad hoc campaign purchases than before. The structure of advertisers has also changed in part,“ says Jan Vlček, CEO of TV Nova, describing this year’s development.

In the first half of this year, the largest TV advertisers include retail chains, which have strengthened their positions, and some producers of fast-moving goods. The pandemic has brought a certain change in the structure of advertisers. Investments were increased by advertisers from the e-commerce and financial services sectors and for a number of them, it was their first step into TV.

The highest interest from advertisers is expected in autumn. It has traditionally been the key period for TV advertising and this year, it is likely to attract a portion of investments missed in the spring. “Moreover, a number of new clients appear in the market who have used other media so far that have no longer been sufficient. That is why we expect high levels of sold out inventory in the market, which will drive the advertising costs up,“ estimates Jan Vlček and adds that due to high demand for advertising, price increases can be expected next year. “The clients’ initial cautiousness slowly disappears and we think that with the expected strong autumn, we can also anticipate a year-on-year growth in TV investments,” said Vlček, estimating the overall development this year.

A strong May also raises expectations for summer months of this year. “We can see that an increased interest in TV advertising has been going on in June and we expect that summer will be no less successful. We notice a rather high portion of the TV market being sold out at the moment and we want to be ready to accommodate all market demand that other providers are no longer able to satisfy. For this reason, we have decided to enhance our programme in June and over the summer holidays in order to maximise our ad space and provide clients with exclusive ad breaks,” comments Nova’s head of sales on the forthcoming period. Unusually, Nova has launched a brand-new TV series “Co ste hasiči” and premiere episodes of the Kameňák TV series in summer, seeking to boost its summer programme.

Please note, that the significant year-on-year growth only applied to May. In the period from June to May 2021, the monitored increase in TV advertising is at 6%. In April, the volume was at a standstill (+0,3%), in May up 6%, in February down 7% and in January down 2% year-on-year.

The strongest entities by delivered GRPs for the first five months are Media Club (TV Prima, Óčko, Barrandov Group) with 51% (TG 15-54) followed by Nova Group (41%) and, falling behind, Atmedia (4%) and Česká televize (4%). 



The volume of TV ads expressed as the number of delivered advertising GRPs on Czech TV screens increased in May this year.

The volume of TV ads expressed as the number of delivered advertising GRPs on Czech TV screens increased this May. Compared to last May, it has grown by a quarter in aggregate year-on-year (+25%). The figure relates to the volume of GRPs delivered through TV spots and sponsoring. Although last May was affected by the first wave of the coronavirus pandemic, the comparison of this April and May shows that there is a growth in demand for TV space.

The highest increase in GRP as of this May is seen in the stations of Česká televize, which may only sell standard ad spots on ČT2 and ČT sport. Sports events, specifically the Ice Hockey World Championship, are one of the drivers of demand for TV advertising on public TV. A high year-on-year increase in GRP is also experienced by stations sold by Atmedia, and a two-digit growth was reported by the key players on the TV advertising market – Media Club (Prima, Óčko, Barrandov and other players excluding Atmedia) and TV Nova in May. 

Share of business networks in delivered GRPs (%), May 2021

Source: Nielsen Admosphere, TV spots and sponsoring

May developments indicate advertisers’ interest in using TV ads, which is expected to continue over this year’s autumn season. The two strongest commercial TV companies have announced preparation of several new programmes for this TV autumn. Given the statutory limits of time that may be used by operators for ad broadcasting, the pressure on TV ad space is likely to grow.  



The content landscape has changed dramatically as a result of the global pandemic.

Speaking at ANGA COM’s online International Content Summit, Nicole Agudo Berbel, chief distribution officer of ProSiebenSat.1, said that while it was really true that everyone was watching TV, how this was actually taking place varied dramatically according to age. “We have lots of young target groups watching our channels and the young target groups give you figures that show they’re using the smartphone, they spend more than 50 minutes on the smartphone, but 112 minutes still apply to the TV screen.”

Agudo Berbel said ProSieben was using the information to run 360 degree campaigns to help combine the two platforms.

The German broadcaster has also been taking advantage of the demand for local content, developing new shows for its most popular personalities.

Discovery’s Susanne Aigner agreed, adding that premium content was crucial for the competitive positioning of platforms. “It has a massive impact on production and the market of audiovisual content providers in general and is leading to some far reaching changes and upheavals here, especially in the consolidations that we’re currently experiencing”.

Aigner also dismissed the argument that there was competition between linear and digital. “It’s a coexistence of linear usage and digital usage. So we’re providing offers for different customers in different situations, in different usage situations. And when you look at the how things are being used by different target groups and the cohorts, you will see that that the tiniest number, tiniest number are the ones that are using linear exclusively. I think it’s like 15% between 20 and 29 year olds that are saying I’m not using linear at all anymore”.

David Bouchier, Chief TV and Entertainment Officer, Virgin Media, told online delegates that the move away from linear had accelerated during the UK lockdown, while at the same time viewing time was increasing.

“They’re watching those new services. So from our point of view, it’s finding that audiences that I think is the key challenging content. That audience, as we’ve heard from the previous speakers, particularly the younger audience, when we do research up to half of the subs, 35 year olds in the UK do not connect on a regular basis with the national networks, preferring instead to do it with YouTube.

Bouchier said this meant that more viewers were watching user generated content.