Global Telecom and Entertainment & Media Outlook 2025–2029: Definitions and methodology

Global Entertainment & Media Outlook methodology

Additions to the forecast

Mauritius has been added to the country scope of the Global Entertainment & Media Outlook. Australia and New Zealand have also been combined into a single region, referred to as Oceania.

In the OTT video segment, the breakout of advertising video-on-demand (AVOD) revenue by broadcaster and non-broadcaster has been extended to all markets. An alternative recut of the AVOD data by free ad-supported streaming TV (FAST) and non-FAST revenue is also now available for 20 markets.

In the B2B segment, further granularity of business information revenue has been provided for ten markets. The breakouts include financial, investor and credit services; healthcare; legal and professional services; media and advertising; and other.

In the Global Telecoms Outlook, IOT services revenue data is now available for 15 markets.

Territories

A total of 54 territories are represented within the Global Entertainment & Media Outlook, while 53 territories are covered within the Global Telecoms Outlook. These are spread across North America, Western Europe, Central Europe, Middle East & Africa, Latin America and Asia-Pacific. The Rest of MENA grouping is treated as a country and comprises Algeria, Bahrain, Jordan, Kuwait, Lebanon, Morocco, Oman and Qatar.

In 2025, these territories account for approximately 74% of the global population, and the sum of all territories generates the ‘Total’ estimate.

Segments

Twelve entertainment and media segments are covered within the Global Entertainment & Media Outlook with a range of revenue and non-revenue sub-categories. The segment categories for 2025 are as follows:

AI
Business-to-business
Cinema
Internet advertising
Internet data consumption
Mixed reality
Music, radio and podcasts
Newspapers, consumer magazines and books
Out-of-home (OOH)
Over-the-top (OTT) video
Traditional TV
Video games and esports

Consumer spending on radio licence fees is included in both traditional TV and music, radio and podcasts, though double counting is removed at a total level.

Digital advertising components, such as digital music streaming advertising, podcast advertising, digital newspaper advertising, digital consumer magazine advertising, digital trade magazine advertising, esports streaming advertising revenue, terrestrial online radio advertising, mobile AR advertising, advertising VOD and in-app games advertising, are all included within their respective segments and also within internet advertising. These are removed at a total level to avoid double counting.

Esports consumer contribution revenue is included in the video games and esports segment and also within online/microtransaction PC games revenue.

Mobile AR consumer revenue is counted in the mixed reality segment, as well as within app-based social/casual gaming revenue in the video games and esports segment.

Cloud and subscription gaming revenue is not included in the video games and esports segment total to avoid double counting.

Advertising revenue from video services such as YouTube is considered within the video subsegment of internet advertising.

Five telecommunications segments are covered within the Global Telecoms Outlook with a range of revenue and non-revenue sub-categories. The segment categories for 2025 are as follows:

Data consumption
Mobile and fixed capex
Mobile and fixed services
IOT services
Spectrum holdings

The IOT and telco capex revenue components are distinct from the other segments covered in the Outlook and are not included in global totals.

Historic data collection

All the forecasts have been built by starting with the collection of historical data from a variety of sources. A baseline of accurate and comprehensive historic data is collected in the first instance from publicly available information, including from trade associations and government agencies. When this data is used directly, these sources are cited accordingly. In addition to this, interviews with relevant associations, regulators and leading players have been conducted to gather insights and estimates not available in the public domain. When this information is collected, it is used as part of the calculations and the sources are proprietary.

Forecasting methods

All forecasts are prepared as part of a collaborative, integrated process involving both quantitative and qualitative analysis. The forecasts are the result of a rigorous process of scoping, market mapping, data collection, statistical modelling and validation.

Use of data in this publication

Material in this publication is drawn from data in the Global Entertainment & Media Outlook 2025–2029, a comprehensive source of consumer and advertising spend data available via subscription. PwC continually seeks to update the online Outlook data; therefore, please note that data on this page may not be aligned with the data found in the Outlook tool. The Global Entertainment & Media Outlook 2025–2029 is the most up-to-date source of consumer and advertising spending data. This document is provided by PwC for general guidance only and does not constitute the provision of legal advice, accounting services, investment advice or professional consulting of any kind.

The information provided herein should not be used as a substitute for consultation with professional tax, accounting, legal or other competent advisers. Before making any decision or taking any action, you should consult a professional advisor who has been provided with all pertinent facts relevant to your particular situation. The information is provided as-is, with no assurance or guarantee of completeness, accuracy or timeliness of the information and without warranty of any kind, express or implied, including but not limited to warranties of performance, merchantability and fitness for a particular purpose.

Outlook content must not be excerpted, used or presented in any portion that would render it misleading in any manner or that fails to provide sufficient context.

Permission to cite

No part of this publication may be excerpted, reproduced, stored in a retrieval system, or distributed or transmitted in any form or by any means—including electronic, mechanical, photocopying, recording or scanning—without the prior written permission of PwC.

Requests should outline the excerpts you wish to use and be submitted in writing to Kamlesh Balasubramanian in a new window, along with a draft copy of the full report in which the excerpts will appear.

Provision of this information is necessary for every citation request to enable PwC to assess the context in which the excerpts are being presented. Without limiting the foregoing, excerpts from the publication may be used only for background market illustration, should not be the sole source of 2025–2029 information and must not form the majority of sourced information. Please cite the Outlook as follows: ‘PwC Global Entertainment & Media Outlook 2025–2029, www.pwc.com/outlook’ in your article.

Contributors

  • Febri Aditya
  • Manpreet Singh Ahuja 
  • Werner Ballhaus
  • Kamlesh Balasubramanian 
  • Christina J. Bangah 
  • Stef Bayley 
  • Daniel J. Bunyan 
  • Wilson W.Y. Chow 
  • Ashley Crawford 
  • Damian Gilhawley 
  • Daniel Gross 
  • Yusuke Harad 
  • Kunal Jog 
  • Elizabeth Johnson 
  • Claudia Kaupenjohann 
  • Louise King 
  • Felienda Kurniawan 
  • Xavier Lam 
  • Anthony Leung 
  • Claudia Lobaton 
  • Andy Lobo 
  • Danilo Mecenas 
  • Brianna Meister 
  • Yuji Mori 
  • Mohammad Osama 
  • Amparo Monrabal Pacheco 
  • Boldizsár Pap 
  • Romina Perchthaler 
  • Emmanuelle S. Rivet 
  • Karim Sarkis 
  • Rajesh Sethi 
  • Triono Soedirdjo 
  • Dirk Soeterik 
  • Bart Spiegel 
  • Charles Stuart 
  • Tsutomu Suto 
  • Mehmet Cenk Uslu 
  • Ariel Vidan 
  • Carina Wellers 
  • Andrew Wong 
  • Ava Xie 
  • Cecilia Yau

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