That might sound counter-intuitive to those who saw headlines concerning the scandalous behaviour of MasterChef presenter Gregg Wallace, or the sentencing of disgraced newscaster Huw Edwards, or angry commentary on social media platforms alleging BBC bias – one way or another.
A study published last week by Enders Analysis showed that the BBC increased its total viewing hours by 3 per cent in 2024, while ITV fell by 5 per cent and Sky by 6 per cent. Disney+ recorded a drop in UK viewing hours but BBC iPlayer grew by 24 per cent.
In a fractious world, warm BBC viewing such as Gavin and Stacey: The Finale or Wallace and Gromit: Vengeance Most Fowl can attract audiences of more than 20 million. The TV set is proving resilient, especially at breakfast time and prime time. The over-65s are watching 4.5 hours of TV a day, more than in 2023.
Enders co-author Bella Monkcom believes the BBC is succeeding because of the breadth of iPlayer, in comparison with subscription-based streamers dominated by scripted drama and film.
“They are honing in on those,” says Monkcom. “They know that is what is going to bring in viewers, especially young viewers.”
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Read MoreBut it is not turning out that way. The BBC is becoming more sophisticated and innovative in the way it operates. “We want to reinvent in every genre,” says Dan McGolpin, director of BBC iPlayer and Channels.
Programme launch strategy is a science. Some series are made available all at once on a “day one drop”. The Traitors offered the first three shows to get audiences hooked, with the other instalments released individually to create “appointments to view,” says McGolpin. “You want the audience to get stuck in straight away but then to experience an unfolding narrative over time.”
EastEnders, once an evening fixture, is a “6am drop”. The soap’s 40th anniversary this month will be a long celebration, including a live episode, documentaries and a new Ross Kemp-hosted game show, allowing for the kind of event viewing that iPlayer thrives on.
McGolpin says the BBC used this strategy to grow its share of the 16-34 demographic by 11 per cent in 2024. “By having a consistent cadence of high-impact series with young appeal, we have managed to build audience for the most competitive demographic in the market,” he says.
It’s a formula that seems to be working – and it looks nothing like Pravda.
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