2016 - 02 -David Boyle Global Trends for Showcase (feat. Parrot)

Sa, thank you so much for joining us for this session and for the applause. We wanted to take a moment out of the agenda. In between the excitement of Top Gear, of Natural History, in between all of the great content, which is the reason we're here, to stop and think about some of the bigger issues and bigger trends facing our industry. There's never been a crazier, fast paced time than there is now. It's never been more important to stop and take a moment, think about the world around us. So we've got a session for you over the next hour or so. Split into two parts, really. The first part I'll cover. My name is David Boyle. I look after Insight for BBC Worldwide. I'm going to go through some of these trends, think about what the world looks like, but more importantly, what it will look like about five years from now. Not just where are we, but where are we going to be? And then I'm going to introduce one of the technology companies we've got with us today, a really exciting company and they're going to preview some work they've done over the last year, looking at something that's never been possible before and certainly never been done before, which is country by country on a like for like basis, show by show on a like for like basis, whether it aired on Netflix or pay TV or on free to air. What happened over the last year in terms of demand for content around the world? It's really exciting. But first, let's take a moment to think about why we're here, issues we're facing as an industry, and tease out some of the stories that actually you can tell through all the messy data points and all the biased news reports that come to us every day and confuse us. Let's start with the reason we're here. And the reason we're here, to steal a slide from our chief executive who used this a few months ago, is because this is what it feels like to work in media these days, doesn't it? This is just what it feels like. I'll never know what it's like to be up there. These guys took 19 days to climb this sheer granite rock face. In the background, you can see the tent that they slept in overnight. Unbelievable. I'll never know what that's like, but it feels something like that to get out of bed and come to work these days. How do we navigate a path through the chaos that's out there? How do we understand the world that we're trying to, in this case, climb? It's really, really Tough. So that's why we're taking a moment right now. And again, what will our TV world look like in about five years from now? First we have to talk about linear tv, about programmed channels. They're dying. Won't they go and die sooner rather than later? You can read this in the press. You can also read. No, no, no, everything's fine. What's the real story? The real story is a little bit more nuanced but quite exciting, I think, if you look, this is the uk for example. Hours spent per individual on watching linear channels. Yes. Every year for the last few years there's been this little decline, quite small declines, but systematic and consistent for a few years. If you take a 10 year view of that, of course, you get a slightly different story. Wow, hasn't it been fantastically resilient in the face of all these changes that have happened? Now, as we know, the story isn't really visible. If you look at everybody and group everybody together, of course we should break people down. And when you look at 16 to 34 year olds, for example, you see a much more pronounced and systematic decline in recent years in hours spent per day watching TV. And when you add younger people on, kids 4 to 15, you see an even stronger decline, again, even more consistent year on year for the last few years. So this reduction in time spent watching linear channels is real and it's meaningful over this time period. But I think the headline of this story has to be how fantastically resilient linear channels have been in the face of the onslaught from Netflix and Amazon's business model from YouTube. Smartphones came to market and became almost universally available during this period. YouTube came to market, became almost universally available during this period. Look how resilient linear TV has been. And there's a really good reason for that, which is that there's a great experience to just sit in front of a programmed channel and watch content that somebody has recommended for you. The Lean Back TV experience. This photograph is part of a series by an Australian photographer documenting kids watching television. It's kind of creepy, but it illustrates though, quite how good that experience is. We all know what it's like to get home from work and most people want to consume TV that way most of the time. And for those of us that don't, we still want to consume TV that way some of the time. So for sure, I believe in 5 years time we'll still be talking about the resilience of linear channels, even for young people, but in a smaller way, because that reduction is Real and in a different way because some of their needs are clearly being met by short form, some by Netflix, et cetera. And so what's left? Different role for linear channels, but resilience I think is the main message which you don't read very much and some people would have you believe is not the case. So where are these younger people spending their time? Well, turns out we can get quite a good view of that if we want. So here we look at 18 to 35 year olds on the right hand side, how they're spending their media consumption time compared to 36 year olds or older people. And you see this significant reduction in the amount of time spent on the black and the gray bars here, which is the traditional media, and this significant increase in the amount of time they spend on new media lumped together, whether it's social media, messaging, apps, the Internet. Quite a lot of the difference between the old media here is, is online TV and radio, which is the TV everywhere catch up versions of traditional media. So that's still linear channels in our world, by the way, but still huge amount of time, huge amount of time being spent in these new media. And not just time spent. This is why the messages are hard to understand out there. It's not just time spent that's changing significantly, it's the importance of those new media in people's lives. So if you ask an older person which three types of media they would take to a desert island, it's what we know and love. It's radio free to air tv, pay tv. If you ask someone of a younger generation, it's social media, music and subscription OTT services creeping in there, but not what we call traditional media, not linear tv. So sustained resilience are definitely the most important messages, but a real change in the role they play in people's lives and the importance they associate with them. That's the challenge, I think. Not that they're going to go away, but that they're changing. So if we want to stay relevant in this new world, whether you're a channel or an app or a broadcaster or a distributor or a producer, how do we stay relevant in this new world? And there are two really clear lessons for me which I think are going to play out really clearly over five years. You'll really see the people who get this right and the people that don't. And the first is to take the great linear content as the basis, the vast majority of hours spent, the core of storytelling, and to extend that linear content to the new media forms, whether it's Snapchat integrations or YouTube or messaging apps, it doesn't matter. But to take great linear content and extend it. For Doctor who, for example, you've got the Doctor who fan show digital original fan oriented extension of Doctor who that's totally designed for and built around digitally native consumers separate from and linked to the core show. Another example would be to take a show like Natural History content. BBC Worldwide have been working with a company called Synchronized to enable people who are viewing the linear tv, viewing the long form content and through the iPad app to experience this additional content, this more engaging content, this additional experiences. So you watch the main content on the main screen and your second screen brings that to life and lets you engage more deeply in that content. Alternatively, it allows you to buy the content, the episodes through the app as well. So there's alternate routes into it, which is quite clever, but still what we're doing is taking long form content at its core and adding to it, enhancing it for digital consumers. So that's the one direction that we need to go in as storytellers. How do we take long form, enhance it, stretch it, grow it and make it relevant in the lives and in the media that younger people consume. Of course things need to go in the other direction as well. You've got these people who very actively choosing what to watch these lean forward methods of consumption, YouTube and Snapchat. You have to really participate. No one's programming it for you. You have to go choose how do we do digital first storytelling in those mediums where people are spending their time and then extend it and grow it back onto the main screen. For example, you heard earlier about the work we've done with Joe and Casper, YouTube Originals Digital first content. But they were really excited to work with us on long form content, DVDs and available for broadcast. So this needs to go in both directions and we need to get really good if we're in the long form world, extending into short form and digital first and vice versa. You can see a ton of examples of this from BBC Worldwide, Digital Studios, BBC3 and others. I want to touch on another topic. I think that will really change over the next few years and that's second windows. Now the phrase is almost slightly derogatory at the moment. Okay, a second window. But SVOD players are really redefining that. I think second windows will mean something very different in just a few years time. Let's take a look at context of where the SVOD players are in the UK and in the US compared to linear channels let's look at Reach for a second. So each bar here is a linear channel in the UK. BBC One at the top, of course is 44 million people in weekly reach. You see the pay TV channels that are shaded out there and you see where Netflix falls close to midway on the list and you see where Amazon Video falls at the end of this particular list. And also I should say that the SVOD services here, this is total subscriber base, not weekly reach. So it's actually exaggerating their position on the graph. But still, compared to big linear channels, the reach of these platforms is in a different league. In the us it's a little bit different. The medium market there is very different from the uk. You can tell that by the distribution of the black and the shaded bars of the pay TV and the free to air channels, of course. And Netflix got much more traction in the us, but overall reach of these channels is in a different league in the rest of the world to linear channels. So you can see, for example, that when two shows have a similar amount of buzz, of engagement, of social chatter. More on that in a moment from Para analytics, the second half of this session. For two shows that have similar levels of buzz out there in the world, similar demand. The show that gets broadcast on Svod only in the UK has a peak viewing estimated of course of something like a tenth of that for a show with the same level of demand that gets free to airing. So we're talking about different reach here radically. And you look at shows that have gone first on digital and then on free to air, in the second window you can see an even more exaggerated version of that story. More than 10 times the increase in audience after airing on Amazon prime, then going on BBC One nine months later. So we think of Second Windows as somehow the fuel's burned out in this title. It's had its exposure. It's only a second window. No, they've built amazing groundswell of engagement around the title. And sure, some people have seen it, maybe they've told their friends. And when you can put it on a second window run on linear, there's an immense audience still available there. That's the uk, it's more extreme in other countries. So second Windows, I think over the next few years will mean something quite different. And I think there's an exciting market here in second windows. Post SVOD and then on SVOD overall over the next five years. Here's a slide I'm sure everyone's going to take a photo of. Yeah, there we go. On SVOD overall, I don't think over the next five years they're going to break through to be truly mainstream. And in most markets now, partly because of what I talked about earlier, partly because the lean back experience of watching a program channel is how most people want to consume telly and it's how even those that don't, it's how you want to consume telly some of the time. Partly that by the way, you can see in the music industry as well, I mean, you might think that Spotify is the answer to the music industry's problems and they've done phenomenally well as a business model. The vast majority of music consumption is, is still lean back consumption. It's radio broadcast, the vast majority. And even on Spotify, by far the number one thing people do is listen to playlists, which is effectively a programmed channel that somebody else has created, maybe a friend. So lean back consumption is for sure the totally dominant force in the music. And my argument is that it's still very, very, very significant, probably the dominant force in TV as well. So that's one reason why I think this is true. Another reason though, if you think about the technology that's upcoming, technology that's entering, not quite mainstream, but entering significant adoption rates, cloud dvr, for example, catch up TV everywhere at scale for most channels in most countries. Because right now, if you want to watch a box set of content, Amazon and Netflix are by far the best place to go. Rich availability, I know they've got some good stuff. It's definitely something I can find. Fantastic. In the future, if you've Cloud DVR'd all the shows that you were vaguely interested in as they went on broadcast. And if you can catch up with apps for all your favorite channels, the role of SVOD services in your life is significantly diminished. So I think there's technology challenges to this as well. And you can see growth slowing in established markets for SVOD services. So really, really, really important services, of course they've changed the dynamics of our industry. That's fantastic. But let's not think that they are the answer. They are an answer to part of the problem or part of how consumers want to consume content. And then I think to kind of wrap this section and by way of an introduction to the next speaker, all of this digital engagement, all of these myriad ways that people are discovering, sharing, consuming and engaging with content is leaving us with a fantastic opportunity as storytellers. Many fantastic opportunities in fact. And we've got two here today that I want to share with you. One I'll introduce and they've got a stall outside, I urge you to go talk to them and the other parrot will come up and share some work with us. So the first, or to set the scene, I should say, in the old world of measurement, of data, of analytics in our industry, we had these great established players like Barb and Nielsen and the equivalents all around the world, they were very, very useful for a long time. But of course they're not measuring most of how people engage with and discover content and they're nowhere near as dynamic and rich as all of these different ways people are engaging. So I think, and I think in five years this will play out as well. The future of how we think about, measure audiences, the future of how we understand audiences and therefore plan how to engage with audiences, is going to be listening to all of these signals, whether it's Facebook comments and likes or tweets or posts or fan curated content, listening to all of this stuff that's happening and it's teasing out from it using really, really, really clever science, really, really, really clever technology, which I don't understand, but to enable us to get insight out of that, learn some things and then go act on those things in ways we've never seen before. So I'll paint you one example and then Warad will come up and talk you through another. The first example is a Finio. What they do is to look at your social media following. In this case, we've looked at BBC Earth on Twitter and in one particular country and they automatically generate something like this with loads of rich detail behind it, but they automatically tell you in a really accessible way who your audience is. So here you can see there's two, four, six different types of people in this particular country that follow BBC Earth. Six different types of people with different wants and needs from the brands. Different types of partnerships would work for these people, different types of content would engage these people. So you can really start to think differently about your social channels and the content that you put out, but also the long form content that you're creating, the topic areas you go to. The beauty of this of course, is that not only is it quick, automatic, cheap, available for every show in every country, but also you can engage with it and dig deeper into the detail and find out all the celebrities and brands these people follow and you can reach out and communicate with the individual segments of people as well. It's incredibly rich. So these guys at Finio have one of the stalls outside, the other stall is Parrot Analytics. I'm going to welcome onto the stage now, but just to set the scene, then parrot also look at all of this data that's generated and tease out from it underlying demand for different pieces of content. I'll let them do a better job than me of introducing it, but it's a radical new concept and he's going to make some bold promises. You've read some of the bold promises or you wouldn't have turned up today. It took me a year of quite hard work digging through this and comparing it to other data sources, digging into how they do it before I was believed it because I'm a bit of a skeptic when it comes to big bold promises and technology. I really, really like the work they're doing. I think it tells us something really unique that no other data source can tell us. So I've dragged them along today and I hope that you like it as well. So I'll introduce warad and let him take you through demand over the last.

Thanks very much, David. Now, I'm a bit biased, but I really, really love sessions like these because I think most of us here, if not all of us, are here because we serve audiences right. They're the consumers of content. And in order to best serve our customers, we really, really need to understand them. And I think David's done a great introduction talking about what's happening globally in terms of consumer trends. And we're just going to continue that and delve specifically into content and we're going to look at global content demand trends. And keep in mind, this is only now that we've been really able to develop the tools to do this because let's recap where the industry is at over the last couple of years. An increasingly rapid proliferation of content distribution platforms all around the world that's causing audiences to be more and more fragmented across different platforms. And all of that is rendering our ability as an industry to measure these audiences across all these different platforms to be less and less effective with every passing month. Almost, by the way, feel free to come by to our send and get a free copy of the presentation just just so you don't have to write down notes. And I'm seeing a lot of camera flashes here as well, so you can focus on the slides and have some fun. So our ability to measure audiences across all these different platforms is becoming less and less effective. So for decades, the old ways of measuring audiences that David talked about and panels and surveys still are important, but we need to complement them with something that allows us to measure audiences and across multiple platforms all around the world. So we talk about that and we call it global content demand. And what we set out to do about three years ago and three years later, with many millions of R and D spent into it, is develop a measure for global content demand that can satisfy three criteria. Real time, no overnights, no last week's ratings. Cross platform doesn't care if a TV show is airing on Netflix or HBO or Hulu on Amazon, and country specific, because every country, every market has its own different content trends. How do we do that? Well, what if you capture every single way how people interact with content, every way they engage with it? So from writing a blog post about my favorite TV show, to reading a Wikipedia page about it, to pirating and downloading on the Pirate Bay, these are all different ways that people who are fans of the content express their view or their version of demand for it. And we call that the global ocean of demand. So I'm going to paint a quick picture just because it's important to keep this in mind as we go through the insights over the last year. So traditionally we've had these linear networks which are essentially public islands. If you imagine every content distribution platform to be an island. Now, these were public islands because anyone could see what's happening inside them. The ratings were published. Over the last couple of years though, you're getting increasingly these closed garden islands, these OTT platforms, where it's very difficult to see what's happening inside them. So while the industry as a whole is struggling to deal with that fact and still trying to panel their way inside those islands, and our view is if you capture the entire ocean, you know exactly what's happening on any island anywhere in the world. But to do that, you need to capture the entire ocean, not only part of it, can't just do social media listing or can't just look at blogging sites. So that's what we've done. And if you can do that, and if you can combine the best of human intelligence and artificial intelligence to enable you to understand how these different parts of the ocean fit together. So how does a blog post compare to a Wikipedia page view? How does that Compare to a BitTorrent download? What does that mean? If you get a page view on a YouTube trailer, what does that all mean? How does it all combine together? If you do that, if you build a system that allows you to do that automatically, processing over a billion data points a day from 249 countries around the world, your buyers from all around the world, and if you can do that. You can understand what every single country on the planet wants in terms of demand. Effectively you'd be able to introduce a demand rating system, which is exactly what we've done. The world's first cross platform global demand measurement system. So this is the last thing that you need to remember. Two components in a cross platform global demand measurement system. A demand rating that allows you, with a click of a button, to understand the relative demand for a TV show like Orange is the New Black across multiple markets at any given point in time. And demand expressions, which allows you to understand the empirical raw demand for any piece of content anywhere in the world. So that allows you, for example, to understand that In Germany on August 28, 2015, Mr. Robot had 20% more demand than then. Orange is new Black demand is dynamic, it's real time, it's always changing and it's country specific and it's across platforms. And now we can do that. What does that allow us to do? Well, we like to think of it as allowing us to leverage science to improve art. And as an industry and as individual companies, if we can do that, then we're really future proofing ourselves. Let's look at some examples. So we know what the world wants and we have access to the world's information. We know what people around the world want across all platforms in all markets. So if we combine that with an understanding of the content itself, of what we call a content genome, then we can slice and dice audience demand according to any number of parameters. We can understand how certain studios are performing relative to each other in certain markets. We can understand how certain OTT platforms are doing relative to each other in certain markets. Or how individual titles are doing in certain markets. So recapping 2015 biggest hits, game of Thrones was the most unpopular, most in Demand, most popular TV show in 44 countries around the world. Followed by the Walking Dead and Prettiest of Liars and capped off by Empire and Scandal. With each three countries where they were most in demand titles around the world. 2015 was a year of character driven. Usually dark dramas around the world was what audiences really were heading towards. Alright, let's look at some more examples. Again, we have access to the world's information, so we can zoom in and dive in anywhere we want. Let's look at the US and look at what titles were most in demand in the US over the last year. Top five shows again, the Walking Dead, Game of Thrones, the Big Bang Theory here, interesting to note, was the only non cable or non edgewatch show to Crack the top five in the US in 2015 tells you something about how audiences are shifting and the trends of content around the world. Let's go to Canada. Let's see how demand changes over time. You see in Canada, for example, if we look from June to December, that the only time when the Walking Dead wasn't the top show was during its hiatus from June to September when it was overtaken by Game of Thrones. Also interesting to note here that due to the binge watching phenomenon that ASVOD original shows have, we can see that on the month of their release, both Orange is a New Black and Marvel's Jessica Jones cracked the top five, but only on the month of their release. Demand spikes. People binge watch on the season, demand tapers off. Let's come to this side of the world. Let's look at the UK and Ireland. Top six shows in the UK and Ireland immediately. Usual suspects top in both markets. What we can also see though is an interesting pattern. The UK more into superhero themed TV shows. Ireland more into dark crime heavy dramas. True Detective the Jinx, the sixth most in demand TV show in Ireland over the last year. Keep in mind the jinx in the UK is the 136th most in demand TV show over the last year. So immediately, even in very, very neighboring regions, you see some differences and some themes emerge. And as a content buyer and a studio distributor, it's really important to understand those as you make your content decisions. Let's go to Latin America. You're a content buyer from Latin America. You want to understand how certain genres are performing. What top shows are in certain genres? Dramas and comedies. Big Bang Theory consistent performer over 2015 the only one in the comedy sitcom genre that would break into the top five dramas list in Latin America. So let's say you're a content buyer from France and you want to understand how genre trends are moving. What genres do French audiences really like? What are they heading towards and then what sub genres within that? Drama and crime drama. Over the last year, crime drama and drama in general was the most in demand genre in France. Now within that, interestingly, we can see that French audiences are really into fantasy and mystery drama, not into sci fi. You'll see that starkly different to countries like the us. So you're a content buyer in Spain. You want to understand a generic picture of what genres are most in demand by certain demographics, certain age groups. This is what it looks like. Again, things you already know. Children are most interested in children's content news most popular with Older demographics. Interestingly, in Spain, 15 year olds are into horror and suspense content. Getting into them at least. Let's go to Switzerland, move along. We can look at it by age. So we can see that true to its reputation, Switzerland is relatively neutral. No genre has a stark difference in male and female representation. We can see sitcoms and comedies are more in demand by female audiences in Switzerland and horror suspense more in demand by male audiences. You're more at East. Let's look at how certain studios are performing relative to each other. You're a content buyer and you negotiate with all the studios and you pick out content from different studios. It's really important to know where to spend your time and where to focus. So over the last year, top five BBC titles, top five NBC titles and their respective portfolios. This is the demand in Eastern Europe, in the Commonwealth independent States immediately you can see that BBC's portfolio in that market at least has more audience demand in the Nordics and the Baltics. Let's look at studio market share of all the demand that audiences in the Nordics and the Baltics express. How does it split up between different studios, catalogs of different studios? The usual suspects take a larger chunk, mainly because they have more titles in their catalogs and therefore commands more market share. But interesting, we can see that the BBC's recent announcements about the Nordics and Baltics is well justified and quite wise given they have more audience demand than Sony, HBO and NBC in the market for their catalog of content Mediterranean and the Middle East. Again, they stick with the theme of comparing studios. So audience demand for studio content broken down by genre. So this is BBC, FX and Lionsgate and the Mediterranean in the Middle east and in those markets breaking down audience demand for the different genres for each of the studios immediately you can tell Lionsgate does the best in comedy. Most of the content they produce is comedy dramas. BBC in drama comes out on top and in sci fi by far, FX takes top spot in crime dramas. If you're looking for those, nothing really in sci fi. This change gears a little bit. So go to Southeast Asia and let's say you're a content buyer, you're one of the many as well platforms, some of which are in the audience, some of which we work with in the market and you're looking to understand how different platforms are performing relative to each other. So this is the rank of the digital originals from Netflix, Hulu and Amazon in the market and how they relate to each other. See, Netflix takes out top spots, have much more exposure than the other two and Hulu perhaps surprisingly gaining a lot of ground on Amazon Video's originals in the market. So that's all fun. Quite deep dive stuff. A lot of insights we could have spent hours going through. Let's have some fun looking at. Sometimes you just want to know, is it this title or that title? What's doing best? What's higher in demand in my particular market? So we can see in the US life below zero, 2.4 times more demand than the last Alaskans in 2015 in Canada in 2015 called the Midwife 1.3 times more demand than Mr. Selfridge in the UK the moaning of life 2.8 times more demand than Nathan for you in 2015 in Switzerland orphan black 1.1 times more demand than misfits Luther 1.7 times more demand than Happy Valley in Ireland and France. Sherlock pretty much the same 1.1 times more demand than Silicon Valley. Germany the Musketeers 1.6 times more demand than Marco Polo in Italy the Great British Bake Off 1.2 times more demand than Hell's Kitchen in Norway parks and rec 3 times more demand than the office in Japan Nutrix 1.5 times more demand than Death in Paradise. Selling this only after the last couple of minutes. Given we're in a BBC Worldwide showcase to zoom in on the BBC and let's just see how the content is doing globally. Immediately we break down the global audience demand by genre and we can see that 2015 was really the year of premium dramas for the BBC. It was a genre that gained the most demand and by far most represented in terms of global audiences and the content that they lean towards. If we zoom in on another particular genre. So this is the demand for natural history documentaries in the uk. We can see BBC takes out over half of the top most in demand content in that particular genre in the UK. What if you want to compare BBC's content with other British shows in the same market? So you look at the uk, you can see again, drama by far more than all of the other British content in the market. So more audience demand for BBC's dramas in the UK, sitcom, sci fi and crime drama, similar vein. What if we look at these are all different questions that we can ask, we can answer. Once you understand what the world wants, once you understand global demand, what countries is BBC's content most in demand in, perhaps unsurprisingly, English speaking markets? Australia, uk, New Zealand, US and Canada. But the BBC also has global appeal. We know that and the data shows that as well. Continuing down the top 10, Seychelles, South Africa, United Arab Emirates, Hungary round out the top 10 countries with the most demand for BBC's content. So this is truly a global audience for the content. Let's zoom into each of the one to five English speaking markets and compare BBC's content with its British counterparts, other UK content. And Australia, a country that in 2015 generally was into realities. BBC takes out five of the top ten most in demand UK shows and the UK was all about drama. 2015, again, the BBC takes out five of the top 10 most in demand titles. New Zealand, much more balanced taste and I'm slightly biased, but we can see reality drama, sci fi, even children's drama cracking the top 10 again, the BBC takes out five of the top 10 most in demand British content in there and the US all about sci fi. Not only does the BBC take out four of the top five and five of the top 10, but if you see the rank, this on the left hand side, this is the rank for that particular title in the market relative to all the other content. So not just British content. And you can see that Doctor who in the US was the 10th most in demand title relative to all ASVOD, Cable Broadcast Network, the entire content universe, Canada, period dramas, again, for the exception of Downton Abbey, BBC takes up most of the top spots. So there's a lot of talk about OTT originals and what's, you know, every different model has its own different challenges. Do you release all season at once? If you don't, you have a problem in the hiatus where demand really drops off. So we look at the average demand and the medium demand and we can see that in 2015, for example, in the US, Doctor who had 1.6 times more average demand than Orange Is a New Black throughout the year in the UK, orphan black, 1.2 times more demand than sense 8. And for the first time we can now compare titles and content that air on different platforms relative to each other, all on the same scale. So to summarize, top 10 appearances, BBC content against other British content, if you look for British content, this is the place to be. And from looking at 2015, we can tell that by having more top 10 spots than all of the other British content combined. 2016 is really going to be a great year for the BBC and we know that because we can now understand for the first time global demand for content. So I want to say thank you very much, but before that, please stick around because David's going to recap the session in a second. Thanks very much.

So that Was it really? I just want to take a moment to recap some of the main themes as well as to thank Warad for that great presentation. I mean, luckily, at the end of a week of work, our hands don't look like this, but we sometimes feel like they might. It's tough out there, isn't it? It's tough, but it is possible through all the different biased news reports and different reports that we read and the different stories we hear, it is possible to tease out what's really happening and to understand the world and therefore to make better decisions about how we help our content to find audiences. So don't worry about the death of linear channels. Ignore anyone who writes about that, but do worry about the changing nature of linear channels. They'll sustain, but they'll sustain in a smaller way and in a different way. They'll play a different role in people's lives. Do worry about changing behaviors of consumers. We saw some of it today. It's real, it's very, very significant. And if we want to stay relevant to younger people, younger going right up to 35, of course, and the analysis earlier, if we want to stay relevant to younger people, we have to start extending our linear content into digital first areas. We have to start storytelling in digital first ways with a view of bringing some of the best aspects onto the main screen, onto long form content, onto linear channels. So we're blessed and cursed with this huge expansion in the number of channels that we have available to communicate with consumers and tell our stories, but also the number of channels that we have to manage every single day. It's part of why life's so tough, managing all those channels instead of just worrying about linear channels. But we're also blessed with immense opportunities we've never had before that have never been possible before to truly understand who our audience is. Remember that graph from afineo? It really brings them to life in actionable ways and to really understand what's going on in demand for content out there, not just from Nielsen ratings who actually watched the show at that time, but who's talking about the show. Where is the demand? How does that go up and down day in, day out and how do we think about that in a cross platform way? So immense opportunities, which I hope you're excited about from today, I urge you to go see both Parrot and Ophidio on the stalls at the top of the stairs. I hope you enjoyed the session. Thank you very, very.

It.