This SES insight paper explores the evolution of audience measurement from the early days of radio surveys and television panels to today’s real-time, data-driven analytics. It examines the limitations of traditional audience measurement techniques, the challenges created by streaming platforms and multi-platform viewing, and the growing role of connected TV technologies such as HbbTV.

The paper also looks at how broadcasters are combining panel-based research with large-scale return-path data to gain a more accurate understanding of viewing behaviour, helping to improve advertising effectiveness, content scheduling and audience engagement.

Topics covered include:

• The history of TV audience measurement
• The limitations of panel-based ratings systems
• The impact of streaming and digital platforms
• HbbTV and connected TV measurement
• Real-time audience analytics and return-path data
• The future of cross-platform audience measurement

Complete the form to Download the full report to discover how broadcasters are moving from audience estimation to real-time measurement at scale.

France’s audiovisual regulator has formally warned news channel CNews that it must comply with requirements to ensure a plurality of viewpoints across its programming.

The decision by Arcom follows an investigation launched after a complaint from Reporters Without Borders concerning the channel’s output during March 2025.

In a detailed review of 168 hours of programming, covering more than half of the channel’s audience during the month, the regulator examined coverage of major topics including security, the war in Ukraine, relations between France and Algeria, the far-left La France Insoumise (LFI) party and wider political affairs.

Arcom concluded that there was a “manifest and persistent imbalance” in the expression of different schools of thought and opinion. The regulator found that debates and news coverage frequently reflected a single interpretation of current affairs, centred on concerns over immigration, Islam, security, criticism of the executive and European Union, distrust of the judiciary and opposition to LFI.

According to the regulator, alternative or more nuanced viewpoints were often given less airtime or were dismissed without meaningful challenge, while presenters played a significant role in shaping discussions.

The ruling follows a change in Arcom’s approach introduced in July 2024 after a decision by France’s Council of State. Previously, plurality requirements focused largely on airtime allocated to political figures. Under the revised framework, the regulator also assesses whether a broadcaster’s overall output reflects a balanced range of viewpoints from all contributors.

Arcom stressed that broadcasters remain free to focus on particular issues and to schedule opinion-led debate programmes. However, it said these editorial choices cannot result in the structural over-representation of a single political or ideological perspective across an entire service.

CNews is owned by Canal+, part of the media interests of French businessman Vincent Bolloré. The channel has become one of France’s most-watched news services in recent years, while also attracting criticism from political opponents and media watchdogs over the prominence of conservative and right-leaning viewpoints in its programming.

The regulator said any further breaches could lead to formal sanctions proceedings. Ahead of forthcoming national elections, Arcom has also announced a dedicated monitoring programme covering all four national rolling news channels to assess compliance with its expanded plurality requirements.

Comparisons will be drawn with the right-leaning GB News, which has faced a series investigations by the Ofcom. The UK regulator has also tightened rules on politicians acting as presenters.

Digital TV Group (DTG) Programme Director Ranjeet Kaur has been elected to the Steering Group of the HbbTV Association, the organisation’s principal executive body responsible for guiding the strategic direction of one of the television industry’s most influential standards organisations.

Kaur was elected by members of the HbbTV Association during its General Assembly on 12 June. Fifteen of the 16 Steering Group seats were contested, with successful candidates elected to serve a two-year term.

The HbbTV Association brings together broadcasters, platform operators, device manufacturers and technology companies to develop and promote open standards for hybrid broadcast and broadband television services. Its Steering Group provides strategic oversight of the organisation’s activities and future priorities.

Kaur’s election reflects her longstanding involvement in television technology, interoperability and standards development. As Programme Director at the DTG, she works across a range of industry initiatives focused on enabling the deployment of next-generation television services.

Among the projects led by Kaur are the development of the DTG DVB-I Test Suite and the creation of HbbTV test materials integrated into the HbbTV Test Suite. These tools are designed to improve interoperability and consistency across connected television services, helping broadcasters, manufacturers and platform operators deploy services with greater confidence.

DTG Chief Executive Richard Lindsay-Davies said Kaur’s appointment demonstrated both her standing within the international television community and the DTG’s continuing role in shaping industry standards.

“Ranjeet’s election is a significant achievement and a reflection of the respect she has earned across the international television industry,” he said.

“HbbTV has become one of the most important standards organisations in the global television ecosystem. Its work sits at the heart of the transition towards increasingly connected and hybrid viewing experiences, helping ensure innovation is delivered through open, interoperable standards that benefit both audiences and industry.”

Kaur said she was honoured by the appointment and looked forward to helping shape the next phase of HbbTV’s development.

“HbbTV has played a vital role in enabling innovation across the television industry, helping broadcasters, manufacturers and technology providers deliver richer and more engaging experiences for audiences,” she said.

“As viewing habits continue to evolve and the relationship between broadcast and broadband becomes increasingly important, I look forward to working with colleagues from across the industry to support the continued development of open standards that enable innovation, interoperability and long-term growth.”

The election further strengthens the DTG’s position within the international standards community at a time when broadcasters and platform operators are increasingly focused on hybrid delivery models, connected TV services and the convergence of broadcast and broadband technologies.

SkyShowtime has announced an extensive slate of new and returning programming, including a new Taylor Sheridan crime drama, a high-profile legal thriller from the creator of Lupin, and a growing pipeline of local originals as the European streaming platform seeks to strengthen its position across the continent.

Among the headline commissions is Frisco King, the latest expansion of Sheridan’s television universe. The series stars Samuel L. Jackson and spins out of the successful Tulsa King franchise fronted by Sylvester Stallone. Also joining the line-up is WAR, a legal drama from Lupin and Hijack creator George Kay, starring Dominic West and Sienna Miller as rivals in a high-stakes battle between two London law firms.

Sports programming will also play a larger role in the service’s offering with the addition of Aces: The ATP No.1 Club, a documentary series charting the careers of the 29 men who have reached the top of the ATP rankings, featuring Roger Federer, Rafael Nadal, Novak Djokovic, Björn Borg and Carlos Alcaraz.

SkyShowtime is continuing to lean heavily on Taylor Sheridan’s growing portfolio of Paramount-owned franchises. Returning titles include Tulsa King, Landman, Lioness, Mayor of Kingstown and Y: Marshals, while The Madison, starring Michelle Pfeiffer and Kurt Russell, has already secured renewals for second and third seasons.

Other returning series include MobLand, The Agency, Dexter: Resurrection, The Day of the Jackal, Sweetpea, Yellowjackets, The Paper and Star Trek: Strange New Worlds, with the latter already renewed through a fifth season as the Star Trek franchise approaches its 60th anniversary.

The service is also adding a number of major studio films and specials, including Baz Luhrmann’s documentary EPiC: Elvis Presley in Concert, horror titles Scream 7 and Five Nights at Freddy’s 2, and biographical drama Song Sung Blue starring Hugh Jackman and Kate Hudson.

Alongside its Hollywood output, SkyShowtime continues to expand its local originals strategy. New productions include Polish crime-comedy Genialna M., Swedish thriller National Homicide Unit, a second season of Polish hit Deadly Ties, and the company’s first original animated series, Hidden Islands.

Kai Finke, Chief Content Officer at SkyShowtime, said the new slate demonstrates the platform’s commitment to combining major international franchises with locally produced programming. “Whether it’s returning hits such as MobLand, unmissable blockbuster movies like EPiC: Elvis Presley in Concert, or all-new exclusive series such as WAR, alongside our local original programming, we have an incredible line-up of unmissable entertainment for everyone to enjoy.”

The announcement comes as SkyShowtime enters its fourth year of operations across Europe. The Comcast and Paramount-backed joint venture is now available in 22 European markets and continues to build its catalogue around content from Paramount+, Showtime, Universal Pictures, Peacock and Sky Studios, while increasing investment in regional productions.

Swiss telecommunications operator Sunrise has expanded its entertainment portfolio with the addition of YouTube Premium and HBO Max, strengthening its position as a one-stop destination for television and streaming services.

Customers can now subscribe to YouTube Premium directly through Sunrise’s website, My Sunrise customer portal and app, the TV Box shop and Sunrise retail stores. The service is fully integrated into the operator’s entertainment ecosystem, allowing subscriptions to be managed through My Sunrise and billed directly on customers’ monthly invoices.

The move reflects growing demand for access to online video and music services through operator platforms as telecom providers seek to deepen customer engagement and simplify subscription management.

“With the integration of YouTube Premium, we continue to expand our entertainment offering with one of the most in-demand content formats, further strengthening the position of Sunrise TV as a central entertainment platform,” said Alessandro Santoro, Vice President Marketing at Sunrise.

The addition brings ad-free access to YouTube content, YouTube Music Premium and YouTube Kids, alongside offline viewing, background playback and Premium HD video quality.

To support the launch, Sunrise is offering existing customers a six-month 50% discount through its Sunrise Rewards programme, reducing the monthly fee to CHF8.45 until 21 July 2026. The subscription then reverts to CHF16.90 per month and can be cancelled at any time.

Sunrise has also expanded its streaming portfolio with the addition of HBO Max. The Warner Bros Discovery-owned service, which launched in Switzerland in January 2026, is now available through the Sunrise TV Box and across Sunrise’s sales channels, including for customers without a television subscription.

The additions form part of Sunrise’s wider strategy to aggregate linear television, catch-up services, on-demand content and third-party streaming platforms within a single user experience, following a model increasingly adopted by European telecom operators seeking to become entertainment super-aggregators.

The BBC is preparing to announce significant job cuts across its news division as part of a wider cost reduction programme expected to remove around 2,000 roles across the corporation.

According to reports, departments have been asked to identify savings equivalent to around 10% of their budgets, with BBC News expected to be among the first divisions affected. The broadcaster’s news operations account for roughly a quarter of the BBC’s workforce and support services across television, radio, online and regional output.

The move forms part of a broader effort to reduce costs by hundreds of millions of pounds as the BBC enters the final stages of negotiations with government over its future funding model and the next Royal Charter settlement.

The reported cuts are expected to have a visible impact on output, particularly within radio services, where staffing represents a significant proportion of operating costs. BBC News remains one of the corporation’s largest divisions, supplying content across domestic and international services.

The restructuring comes as Director-General Matt Brittin seeks to balance financial pressures with continued investment in digital services. Speaking earlier this year, Brittin acknowledged that the BBC faced difficult decisions as it sought a sustainable long-term future, while also expanding areas such as iPlayer and content for platforms including YouTube in order to reach younger audiences.

Alongside workforce reductions, the BBC has already introduced tighter controls on recruitment, travel and consultancy spending as part of its wider efficiency programme.

The cuts come at a pivotal moment for the broadcaster as ministers consider options for the future of the licence fee. Discussions are understood to include potential changes to the way public service broadcasting is funded in an increasingly streaming-led media environment.

The BBC declined to comment on the reports.

ITVX has delivered its strongest seven-day performance since Euro 2024, generating more than 110 million streams during the week of 8-14 June as the FIFA World Cup and Love Island combined to drive record viewing.

The broadcaster said the total represents ITVX’s best weekly performance since July 2024, with audiences drawn by the opening stages of the World Cup, England’s pre-tournament friendly against Costa Rica, Love Island and ITV’s flagship soaps.

The platform also passed a significant milestone on Thursday, exceeding 20 million streams in a single day for the first time since Euro 2024. ITV said the record was driven by live viewing of the World Cup opening match and opening ceremony, alongside strong catch-up audiences for Love Island, Coronation Street and Emmerdale.

On linear television, the tournament is already delivering some of ITV’s largest audiences of the year. The opening match between Mexico and South Africa peaked at 7.7 million viewers, becoming ITV’s biggest audience of 2026 so far.

The momentum continued through the opening weekend, helping ITV1 secure its strongest weekend audience performance since March 2025. Sunday’s Netherlands versus Japan match attracted a peak audience of 6 million viewers, while Germany’s opening group fixture against Curaçao peaked at 5.9 million. ITV said it has delivered four of the five biggest audiences of the tournament to date.

Love Island remains one of ITVX’s strongest streaming performers, with the first 14 episodes of the current series generating 34 million streams. Including Love Island All Stars, the franchise remains the most-streamed title on ITVX in 2026.

Meanwhile, Coronation Street and Emmerdale continue to benefit from their early availability on ITVX, generating almost 11 million streams between them across the week.

ITV is now preparing for one of its biggest World Cup fixtures so far, with England’s opening group match against Croatia scheduled to air live from Dallas on Wednesday evening.

The acquisition expands Autentic’s portfolio across several factual genres, including blue-chip nature and wildlife, science, travel and culture, and history programming. Financial terms of the transaction were not disclosed.

As part of the deal, Anne Olzmann will remain Managing Director of Albatross World Sales and continue to oversee acquisitions, serving as the company’s contact for producers. Responsibility for the international distribution of the Albatross catalogue will transfer to Autentic.

The acquisition brings a catalogue of award-winning factual content to Autentic, including productions from companies such as Altayfilm and Marco Polo Film. Titles include Cactus Hotel, Going Nuts and On Thin Ice from Altayfilm, as well as Land of the Far North, The White Diamond, Beaches of Europe and Grizzly Encounters from Marco Polo Film.

The transaction complements Autentic’s existing exclusive partnership with Terra Mater Studios and further strengthens its position in the wildlife documentary sector. Wildlife programming remains one of the most popular and internationally sought-after factual genres, while the acquisition is also expected to enhance Autentic’s channel business in the category.

According to the company, the deal comes as international distributors face growing demands resulting from the expansion of digital distribution platforms, FAST Channels and social media services. These developments are increasing both editorial and operational requirements, while investments in systems and data infrastructure are becoming increasingly important for content distribution businesses.

“Autentic and Albatross share a long-standing and trusted relationship. Creatively and culturally, we are an excellent fit,” said Mirjam Strasser, Director Sales & Acquisitions at Autentic. “By combining our strengths, we are creating a stronger offering that benefits both producers and buyers alike. As the market rapidly evolves toward digital distribution models, this consolidation enables us to respond more effectively to changing demands and creates clear advantages for all parties involved.”

Anne Olzmann, Managing Director of Albatross World Sales, added: “Building and growing Albatross World Sales over the past 16 years has been an intense and deeply personal journey, one that I have pursued with great passion. Looking at the challenges and opportunities of an increasingly consolidating market, I am excited to join forces with Autentic to create a future-proof and sustainable structure that strengthens the international sales capabilities and ensures the best possible long-term opportunities for the programs in the global marketplace.”

Founded in Munich, Autentic produces and distributes documentaries and factual series for broadcasters, streaming platforms and other media partners worldwide. The company also operates its own factual FAST and YouTube channels. Autentic is part of the Beta group and is led by founder and Managing Director Patrick Hörl.

The new features, 3Ready Hero Search and 3Ready Hero for Editors, are designed for pay-TV operators, telcos, broadcasters, streaming services and automotive manufacturers. According to the German software solutions provider, both tools aim to improve content discovery and operational efficiency while allowing service providers to retain control over branding, editorial priorities and customer data.

3Ready Hero Search uses natural-language processing and semantic search technology to interpret viewer intent rather than relying solely on keyword matching. The tool can aggregate results from operator and third-party content sources, enabling users to search with conversational requests such as “make me laugh” or “find me something to watch before travelling to Japan”.

The feature can also incorporate third-party content catalogues without requiring complex backend or metadata integrations, potentially expanding the range of content available to viewers, according to 3SS. Operators can configure search result ordering, branding and editorial priorities through the company’s 3Ready Control Center management platform.

3Ready Hero Search is interoperable with multiple large language models, including OpenAI and Gemini models, and is currently being tested in a proof-of-concept deployment with a major European telecommunications operator.

The second new feature, 3Ready Hero for Editors, is available to customers using 3Ready Control Center 3.0. Embedded directly within the management platform, the AI assistant is trained on 3Ready documentation and knowledge databases and is intended to help editorial and operational teams access platform-specific information without consulting separate documentation or support channels.

Editors can ask questions within the platform and receive contextual responses related to service configuration and management. According to the company, the tool is designed to reduce operational overhead, accelerate staff onboarding and support decision-making across multiple markets, devices and user segments.

3SS plans to extend the assistant’s capabilities in future releases to allow selected configuration and operational tasks to be performed through natural-language commands.

“With these new features we’re taking an editorially controllable approach to embedding AI safely. The platform is designed to use AI to create capabilities and tools that help service providers better understand a user’s intent in the context of entertainment experiences, but in a safe, managed and measured way,” said James Twitchett, Head of Product at 3SS.

“With 3Ready Hero, we are delivering a powerful intelligence layer designed for both our own 3Ready ecosystem and also for services not built by 3SS, enabling more users to reach content faster and with less friction. It enables much more efficient operational workflows and editorial management, keeping the operator firmly in control of UX, data, and search outcomes. Our aim is to simplify operations and shorten onboarding, improving engagement while allowing providers to retain full management over how AI is applied to their services,” Twitchett added.

Fox Corporation has agreed to acquire Roku in a deal valued at approximately $12.5 billion, bringing together one of the largest television content owners in the US with a major connected TV platform.

The transaction marks one of the most significant moves in the streaming and connected TV sector in recent years and gives Fox direct access to Roku’s operating system, advertising technology and audience reach.

Roku has more than 90 million active accounts and powers smart TVs and streaming devices across North America and several international markets. The company has become a key gateway for streaming services and advertisers, generating much of its revenue through advertising, platform distribution and content partnerships.

Fox said the acquisition would strengthen its direct relationship with consumers and advertisers while creating new opportunities across streaming, free ad-supported television (FAST), sports and digital advertising.

The deal also gives Fox greater control over content distribution at a time when media companies are increasingly seeking ownership of both programming and the platforms through which viewers access it.

The acquisition would significantly expand Fox’s streaming footprint beyond its existing portfolio. The company already owns the free ad-supported streaming service Tubi, which has become one of the largest FAST platforms in the United States, alongside the recently launched Fox One direct-to-consumer service. Fox also operates a growing portfolio of FAST channels spanning news, sport and entertainment.

Industry analysts said the acquisition reflects the growing strategic importance of operating systems and aggregation platforms as the television market continues to shift from traditional pay TV to streaming.

The transaction is expected to face regulatory scrutiny in the United States, with authorities likely to examine the impact on competition in connected TV advertising, content distribution and streaming aggregation.

The acquisition follows a period of speculation about Roku’s future, with investors and analysts questioning whether the company could remain independent as larger media and technology groups seek greater scale in streaming and advertising.

Fox said Roku will continue to operate as a standalone platform while benefiting from Fox’s content portfolio, advertising relationships and financial resources.

The deal is expected to close later this year, subject to shareholder approval and customary regulatory clearances.