With a highly connected, affluent population and a very saturated streaming landscape, the UK is one of the world’s biggest – and most competitive – markets for streaming companies. Here, retention is the name of the game. 

When it comes to excellent in-language content, consumers in the UK are spoiled for choice. Through BBC’s iPlayer, ITV, and Channel 4, they can stream the best in British TV for free. They’re accustomed to – and embrace – US entertainment and its pop culture. Since many of the world’s largest streaming companies are US-based, they can access high-quality content in their language through a variety of models, whether paid, free, or ad-supported.

This high level of saturation and a discerning UK audience means streaming companies will have to work hard to acquire new users here. And they’ll have to work even harder to keep them.

Here’s what to keep in mind when approaching this highly sought-after audience.

STREAMING BEHAVIORS IN THE UK

When it comes to streaming content, the UK likes to do it alone. According to YouGov, nearly half (48%) of Britons prefer to stream content solo: a deviation from viewers in other English-speaking countries, who more frequently engage in watch parties and communal streaming within their households or with friends. 

Streaming makes up a significant slice of how UK consumers occupy their free time. (3 hours and 54 minutes per day.) This widespread immersion in content streaming and the number of services vying for their attention comes with a significant caveat. 71% of Britons report feeling overwhelmed by the volume of streaming platforms available. 

UK VIDEO STREAMING PREFERENCES IN ENGAGEMENT

YouTube and TikTok continue to be dominant for video consumption among younger demographics, spending as much time viewing social video content as they do on subscription streaming platforms. 8 in 10 UK consumers report using YouTube to watch video content, twice as much as TikTok. 

Paid streaming platforms are still big for UK consumers: 19.6 million households in the UK now subscribe to at least one paid streaming service. But growth is slowing (only 77,000 new households in Q3 2024). As in many areas of the world, the cost of living has risen sharply in the UK, leaving users with less disposable income to dedicate to paid plans. 

With so much free content at their fingertips through local streamers, paid subscriptions are seen as complimentary to, rather than the core of, UK users’ streaming diet. Content and price are major drivers of UK consumer behavior. Users will often sign up for a paid service to watch specific content – then bail once they’ve had their fill. 

This cost-consciousness also makes for an extremely competitive free- or ad-supported streaming landscape. Since 2020, the average number of free video or AVOD services per user has risen from 3.6 to 6.2. Following Tubi’s launch in the UK in July, the viewer numbers for their closest competitors – Pluto TV and Freevee – declined. However, there was still significant user overlap among the three services. To maximize advertising revenue, FAST platforms will need to keep user engagement up through new offerings, expanded content libraries, and excellent UX.

HOW CULTURE IMPACTS UK CONSUMER BEHAVIOR

Overall, English language content is both popular and expected in the UK, wherever it may originate (Canada, Australia, etc.). Consumers take a particular pride in successful UK actors and UK-focused productions, giving franchises like Harry Potter staying power.

With free local content readily available, UK-produced shows and films aren’t especially compelling for this audience when considering a global platform. But US entertainment is a large draw, particularly when UK viewers are deciding whether to subscribe to a paid service. 

Non-English content tends to be less popular, as UK audiences are less accustomed to dubbing or reading subtitles than other European countries. That said, some demographics are becoming more comfortable with non-English content – for example, younger UK audiences’ enthusiasm for Korean culture.

An important exception here are native speakers of Welsh, Scottish, Gaelic, Irish, and other UK-based languages. UK productions will sometimes film in dual languages. (For example, Hinterland filmed the same dialogue scenes in both English and Welsh.) S4C, the nation’s only Welsh-language broadcaster, is a vital platform for Welsh viewers who seek original content in their own language.

A lack of localized content is a complaint for these streaming users. As one of our UK-based experts put it in a recent survey, “My first language, Welsh, is essentially non-existent on these providers.” Offering localized content for these audiences could be a significant differentiator for streaming services looking to attract loyal subscribers in the region.

FINAL THOUGHT

UK audiences’ streaming habits are reflective of broader global trends, but with distinct local preferences. While this consumer base isn’t likely to ditch premium SVOD services altogether, a marked desire for free, ad-supported services and subscription models that accommodate a range of budgets should inform how international streaming service providers approach this market.