Few shows have captured the nation’s attention in recent years quite as well as Adolescence, which aired in March. Boosted by near-perfect reviews and even touting a mention by the Prime Minister in Parliament, the four-part Netflix series quickly eclipsed the popularity of shows like Baby Reindeer to become the most-viewed streaming show ever in the UK.
As a cultural behemoth, Adolescence fuelled a global conversation about the growing influence of the ‘manosphere’ – a topic that was fresh on our minds last month as we wrote about the role media can play in reinforcing positive attitudes among young men. Amidst the debate, however, the show was setting another cultural milestone closer to home, one with ramifications for the wider UK TV landscape: it marked the first time that a streaming episode had been the most viewed weekly show in Britain. With almost 6.5 million tuning in to the debut episode in its first week, according to Barb, Adolescence topped that week’s instalment of The Apprentice by 700,000 viewers.
In many ways, this milestone was a long time coming. As Barb data reflects, since Q4 2022, the ‘Big 5’ UK broadcasters have lost an average of 8.6% in reach, though this ranges from -12.49% for Channel 5/Paramount to a more modest -3.33% decline for ITV. Subscription-based streaming services now account for a greater combined reach than the BBC’s television output, with Netflix alone behind only BBC & ITV in the number of adults it reaches each month.
As streaming services prosper, there have been fears in some quarters that UK-based content production could suffer, given the more globalised output of the major streaming platforms. Bectu, the trade union of the British film & broadcasting industry, released a report last year describing ‘a sector in crisis’ and citing that a majority of the country’s film and TV workers were not in work in February 2024.
Adolescence – alongside recent ratings juggernauts like the aforementioned Baby Reindeer and Mr Bates vs. the Post Office – tells us that the British TV production industry is very much alive and kicking, joined by inward investment into the film industry. According to the BFI, UK film and high-end TV production spend rebounded by 31% last year, with the biggest film of the year, Wicked, filmed right here at Elstree.
Though these provide reasons for optimism, the long-term future of UK content production remains unclear, against a continually shifting media landscape. The parliamentary Culture, Media and Sport committee has called for a new levy on streaming services to fund British-made content directly. Such a change would be contentious, with some commentators suggesting it would provide a much-needed cash injection to the industry. Others argue it would be, in effect, an unwelcome tariff on consumers, at a time when purse-strings are already tight. Moreover, President Trump has threatened a 100% tariff on films not made in the United States – a proposal which adds further uncertainty to the UK’s burgeoning industry.
Whatever the outcome of the levy debate, the success of Adolescence and other shows like it – be they broadcast or streaming – proves that the UK remains a hub of best-in-class content production. While channels, viewing habits and devices may change, the nation’s love of the box is as strong as ever.
