Entertainment
FLAGSHIP REPORT 2018
www.globalwebindex.com
GlobalWebIndex’s flagship report on the
latest trends in online entertainment
http://www.globalwebindex.com
Contents Introduction
Introduction
Key Insights
Engagement with Digital
Entertainment
TV/Video
The Music Streaming Market
Gaming
Brands and Entertainment
Social Media and Entertainment
Notes on Methodology
02
03
04
06
10
14
18
20
22
Our Entertainment flagship report provides the
most important insights and latest figures for online
entertainment behaviors around the world. Among
others, this report covers the following topics in detail:
• The numbers engaging with online entertainment,
including music, video and games.
• The relationship between linear and online TV.
• The state of online music and video streaming, as well
as which platforms are performing best.
• Which devices are most important for gaming,
how gaming entertainment is evolving, and the
opportunities this presents for brands.
• The impact of entertainment on the consumer-brand
relationship.
• The trends in social entertainment.
Key Insights
Linear TV is still
going strong
It has the greatest
reach, and commands
the most eyeball time.
Netflix continues
to spread globally
but online TV
isn’t cannibalizing
broadcast; it’s
complementing it.
It’s a pivotal
time for music
streaming
Rivalry between Apple,
Spotify and Amazon is
helping to drive user
growth, while local
services show the
importance of culturally
relevant content. Smart
speakers may be the
key to unlocking an
audience of casual
listeners.
The console
decline is
stabilizing
There are fewer
Console Gamers
than in 2014, but the
device’s evolution into a
multimedia hub means
that Console Gamers
are spending more
time on their devices.
Esports are
maturing and
becoming more
mainstream
Its viewers are a
desirable demographic
for marketers, and
continued investment
and organization
of competitions is
propelling it towards
established media
channels.
TV is still the
most effective
advertising
medium
It ranks highest for
brand discovery among
our tracked media,
with 37% finding
out about brands
through TV ads. But
internet users are also
looking to brands to
provide entertainment
themselves, consuming
branded videos and
games.
Social media is an
entertainment hub
Bridging commentary
around sports with the
rights to broadcast
them is at the heart of
their content strategies.
Social media services
are also investing
in long-form video
platforms and looking
more at music licensing.
03
Entertainment
Engagement with Online
Entertainment
Flagship Report 2018
Engagement with Online Entertainment
MEDIA CONSUMPTION SEGMENTATION
Internet users’ engagement with the
following forms of media
ONLINE ENTERTAINMENT ACTIVITIES
% of internet users who have done the
following in the last month
05ENGAGEMENT
WITH ONLINE
ENTERTAINMENT
Question: In the past month,
which of the following things
have you done on the internet
via any device? // On average,
how often would you say you
do the following things?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/2uC7Ymn
http://hubs.ly/H02zPNs0
Entertainment
TV/Video
Flagship Report 2018
TV/Video 07TV/VIDEO
Question: Roughly how many
hours do you spend watching
television during a typical day?
// Roughly how many hours do
you spend watching/streaming
online forms of television
during a typical day? // In the
past month, which devices
have you used to do the
following? This includes any TV
you watch in your home, office,
while traveling or any other
location. Watch subscription
services such as Netflix // Can
you please tell us why you use
VPNs or proxy servers when
browsing the internet?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/1P03Ynt
http://g-web.in/1P03PAc
http://g-web.in/2qTleUX
http://g-web.in/2vJsA0i
TV/Video
In every age bracket, internet users watch more broadcast TV than
online TV, despite year-on-year drops in broadcast engagement.
Lifestyle has an impact in preserving its reach, with consumers in a
relationship and those living with their partner engaging more with
broadcast TV, but spending less time watching online TV per day.
Online TV is a part of internet users’ daily routines too. It’s captured
more and more daily media time among internet users since 2012,
climbing from the 45 minutes per day mark to its current standing
of just over an hour. Context is key here. Rather than cannibalizing
broadcast distribution channels, online TV complements them,
moving the experience away from one-time, one-place viewing to a
more flexible experience. Whether it’s catching up on missed content
or finding online-exclusive content in association with popular shows,
online entertainment is now providing a value of its own which can
add to broadcast channels.
The growth of online TV is complementing,
not cannibalizing broadcast
We can see the role online TV occupies in our data for TV behaviors.
If we combine all our tracked digital sources like computers, mobiles,
and games consoles into an aggregate and compare it with linear
TV, then linear TV is ahead by 14 percentage-points for watching live
TV. But there’s a clear preference for digital sources over TV sets for
using catch-up services (42% to 30%) and subscription services (44%
to 23%).
From a regional perspective, North America posts the strongest
figures for broadcast TV by a considerable margin, and also scores
highly for online TV (on over an hour). Internet users in Asia Pacific, on
the other hand, are spending the longest amount of time watching
online TV and are the least enthusiastic watchers of linear TV.
Despite the smaller screen size, 44% of internet users are watching
TV of any form on a mobile. The portability of smartphones, together
with impressive screen resolutions, and generous data packages in
certain markets, points to their future role in the online entertainment
landscape. Thanks to mobile bringing TV engagement out of the
household, marketers can reach consumers throughout the day,
whether that’s during the morning commute or at the gym.
Average time per day spent watching the following (hh:mm)
08TV/VIDEO
Question: Roughly how many
hours do you spend watching
television during a typical day?
// Roughly how many hours do
you spend watching/streaming
online forms of television
during a typical day?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/1P03Ynt
http://g-web.in/1P03PAc
The Video Streaming Market
It’s Netflix and Amazon who tend to hog the headlines for TV
streaming, but their global expansion puts them into competition
with local services in each country they enter. Having taken the lead
in North America, Europe, Latin America, and joint-first place in the
Middle East and Africa, Netflix has also made headway in APAC,
taking 18% of the market. Now – more than ever – Netflix faces the
need to double down on culturally relevant content. Local services in
markets like India, Hong Kong and South Korea have a commanding
grip of the media landscape, with strong ties to familiar domestic TV
networks, posing significant challenges to any entrants from outside.
Beyond these established local competitors, streaming services also
have the challenge of monetizing users. At present, there’s a gap
between the number of internet users watching a service and those
actually paying for it. Part of the reason for this is account sharing,
with 46% of Amazon Prime Video users and 60% of Netflix users
sharing their accounts.
Despite aggressive global expansion, there are still discrepancies
between content libraries in different countries. Internet users in
fast-growth markets often use a Virtual Private Network (VPN) tool
to access broader libraries or more desirable content from other
countries. VPNs allow users to bypass traditional connections and
tracking methods to use the internet via a remotely located server
– with the servers in question often based in nations like the U.S.A.,
Ireland, Sweden and the Netherlands rather than the user’s home
country.
Ask VPN users why they use them and close to half say it’s to access
better entertainment content. This equates to 14% of internet users
globally, though figures can peak much higher among certain
groups. In Indonesia, it rises to a third of the online population.
1 in 5 16-24 year-old internet users use
VPNs to find entertainment content
% of internet users who watch/download TV shows/films on the following services
09TV/VIDEO
Question: In the last month,
which of these services have
you used to watch/download
TV shows, films or videos?
Please think about any sort of
TV, video or film content that
you have watched, streamed,
downloaded or accessed in
any other way.
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/2ulTibE
Entertainment
The Music Streaming Market
Flagship Report 2018
The Music Streaming Market
Of the entertainment media we track, music
streaming has the highest number of non-
users (40%). But there’s still a significant
number of high/heavy engagers – more than
most media we track. So there’s still work
to do in converting non-users into casual
listeners, as is the case for radio, where many
internet users listen casually but few do not
listen at all. Markets where music streaming
has the most potential to expand are
European countries with older populations
where radio is still king, like Belgium,
Germany, and Austria.
More time is spent listening to
radio than music streaming in
21 of our 42 tracked markets
11THE MUSIC
STREAMING
MARKET
Question: Roughly how many
hours do you spend engaging
with/connected to music
streaming services during
a typical day? // In the past
month, which of the following
things have you done on the
internet via any device? //
Which of the following types of
online content have you paid
for in the past month?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/1ydtqJV
http://g-web.in/2uC7Ymn
http://g-web.in/1Enh6ZE
The Music Streaming Market
Smartphones have been the driver for music streaming’s growth
so far, with all age groups now streaming music more on mobiles
than any other device. But with 4 in 10 internet users yet to turn to
streaming, new hardware could be the next frontier to convert more
casual music listeners into streamers. A quarter of internet users
who don’t use music streaming services are planning to purchase a
smart speaker, which would remove the friction of downloading and
installing software. Simply asking a voice-enabled device to “play
music” may be the key to generating more casual music streamers in
the years to come.
As with TV streaming, in all regions there’s a gap between the number
of internet users who report using a music streaming service and
those who have paid for one, underlining the work needed to create
revenues from users. 63% of Spotify users, and the same percentage
of Apple Music users, are on free or trial accounts.
Streaming services are on the verge of
overtaking monthly music downloads
Music downloads (22%) are currently bought more than music
streaming services (21%), but this is approaching a tipping point
where streaming will overtake downloads. This is because internet
users display a much stronger preference for accessing content
services rather than owning the content themselves. Both the free
availability of ad-supported music streaming services, as well as the
popularity of accessing music content on the likes of YouTube, are
having an impact here.
46% of internet users say they prefer to access
music through online services than buy it offline
This trend is most pronounced among younger internet users – with
around half of 16-34s saying they access over ownership. But despite
this preference then decreasing in line with age, a similar view is seen
even among 45-64s. The same pattern emerges with control over music,
with younger users keener to create custom playlists, while older users
are more content to listen to it in the background. The ease with which
smart devices can create background music could be key again here.
12THE MUSIC
STREAMING
MARKET
The Global Spread of Music Streaming
Outside of China, Spotify is the leader among the major music
streaming services, with a quarter of internet users listening via
the service each month. Key to Spotify’s continued success will be
maintaining its ad-supported tier which has so far ensured that it
boasts larger reach than any competitor. The attractiveness of an ad-
supported model among potential users will likely assure it a place in
Spotify’s future monetization strategies, even if the functionality of its
free tier is subject to change. Spotify’s VP of Sales in Europe, Marco
Bertozzi, has spoken about the challenge in convincing marketers of
the targeting and multimedia capabilities of streaming over radio.
Freemium music streaming providers like Spotify not only need
to acquire users, but also convince advertisers that streaming is a
worthwhile new medium with tangible returns.
1 in 5 users of music streaming services
discover brands through pre-roll ads on videos
– a blind-spot for streaming platforms.
As with Netflix and TV, attracting users through content desirable
in each market is a significant barrier to overcome and one which
makes certain regions tougher nuts to crack. MEA and APAC
represent particularly challenging regions, with SoundCloud proving
popular in Arabic markets and domestic laws in China ensuring that
there are difficult barriers to outside competition there.
As of 2018, the current leading players in music streaming don’t just
have local competitors to think about; they also have to contend
with Alphabet’s latest bid to spin off a premium music service from
YouTube, YouTube Music. Although previous attempts to create
premium services from YouTube have had limited success, 37% of
the internet population watched a music video on the service in the
last month, giving Alphabet a big base to work with.
% of internet users who listen to/download music on the following
13THE MUSIC
STREAMING
MARKET
Question: In the last month,
which of these services have
you used to listen to/download
music, radio or audiobook
content? Please think about
any sort of music, radio or
audiobook content that you
have listened to, streamed,
downloaded or accessed in
any other way.
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
https://www.iabeurope.eu/events/iab-europe-interact/streaming-and-the-next-frontier-why-brands-should-listen-up/
https://www.theguardian.com/music/2018/may/17/youtube-music-new-streaming-service-launch
http://g-web.in/2vJytKB
Entertainment
Gaming
Flagship Report 2018
Gaming
Games consoleSmartphone PC/Laptop Tablet Media
streaming
device
Handheld
gaming device
Feature phone
9% 4% 3%22%25%49%64%
For years, gaming has played an increasingly
prominent role in the entertainment
industry. Recently, the pace has accelerated
significantly: 86% of internet users report
having gamed on at least one device. The
widespread migration of gaming online, the
emergence of online multiplayer platforms,
and the popularity of freemium gaming
platforms, both on mobile and PC, have
largely driven this trend.
Of these devices, it’s smartphones which
dominate, helped by almost universal
ownership at a global level. This genre of
entertainment is now among the most truly
cross-demographic activities tracked by
GlobalWebIndex. In fact, thanks to mobile
and PC gaming, it’s difficult to find a region
or demographic in which the majority of
individuals aren’t gaming in some form or
another.
At least 7 in 10 internet users in all
but one of our tracked markets use
at least one device for gaming
15GAMING
Question: Which of these
devices do you use to play
games?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
http://g-web.in/1L8iuDE
The Stabilizing Console Market
GAMES CONSOLE ENGAGEMENT
% who own a games console
TV ENGAGEMENT ON CONSOLES
% of Console Gamers who do the following on a games console
In recent years, we’ve reported a year-on-year decline in games
console ownership. But there are signs that this decline is
stabilizing. The decline has happened in tandem with a strategy
from manufacturers to shift their focus to Western markets that have
the greatest growth potential, best symbolised by Sony moving their
PlayStation headquarters from Tokyo to California in 2016. It also
mirrors the rebranding of games consoles from simply devices to
play games to multimedia entertainment hubs.
Consoles now allow consumers to browse the internet, upload
content to social networks, communicate with friends, listen to
music, shop online and, importantly, engage with various forms of
online TV. Within the console gaming community, consoles play
a role in accessing TV content: 1 in 5 now watch TV in some form
through their console. These added functionalities help explain why,
despite dropping ownership figures, we’ve seen the consistent
increases in daily time spent on games consoles among internet
users since 2012.
With fewer owners of the hardware, and less revenue from sales,
the strategic emphasis shifts to subscription services, with their
guaranteed recurring income. A third of internet users have used
a subscription service on their console in the last month. On the
manufacturer front, Sony have taken the lead among internet users,
with the PlayStation 4 and PlayStation 3 the most popular consoles,
and the PS4 the most desired console for the next purchase.
Although there are fewer console owners than
2014, they spend more time on them per day
Watch TV in any form 19%
Watch subscription services such as Netflix 12%
Watch a TV channel’s catch-up/on-demand service 7%
Watch television live as it is broadcast on a TV channel 6%
16GAMING
Question: Which of the
following devices do you own?
// Thinking about television,
how often would you say you
do the following? This could
be on any device and includes
anything you watch in your
home, office, while traveling
or any other location Source:
GlobalWebIndex 2014-2018
(averages calculated across
all the waves conducted)/
GlobalWebIndex Q1
2018 Base: 109,780 internet
users aged 16-64/22,820
Console Gamers aged 16-64
http://g-web.in/1EniFH9
http://g-web.in/2qTleUX
Esports
Compared with where it stood a few years ago, esports is now
emerging as a more cohesive and mainstream genre of entertainment.
The last few years have seen further steps in its emergence into the
mainstream. Activision Blizzard established the Overwatch League,
a competitive and franchised competition which has offered a solid
base for advertising dollars. The Overwatch League reached another
milestone when its Grand Finals became the first live competitive
gaming to be shown on ESPN at primetime.
1 in 5 16-34 console gamers watch esports tournaments. Its
demographic is narrow but highly desirable: young, male,
and skewing affluent. The bulk of gaming livestream watchers
are currently from Asia Pacific, where markets like South
Korea helped instigate the rise of spectator gaming.
Focusing on Gen Z (internet users aged 16-21) shows more of
that generation are watching live gaming streams in Europe
and North America than elsewhere. Gen Zers in the West trail
for watching esports, but that only highlights the opportunity
there is in converting livestream watchers into esports fans.
GAMING
Question: Which of these
gaming-related activities have
you done in the last month?
Source: GlobalWebIndex Q1
2018 Base: 22,820 Console
Gamers aged 16-64
% of console gamers who have done the following in the past month
17
https://overwatchleague.com/en-us/
https://www.cnbc.com/2018/07/11/espn-to-live-broadcast-activision-blizzard-esports-overwatch-league.html
http://g-web.in/2dUrN3Y
Entertainment
Brands and Entertainment
Flagship Report 2018
Brands and Entertainment
Entertainment has a crucial role to play in the discovery of new brands
and products, whether that’s TV, vlogs, or films. Among our tracked
brand discovery channels, TV ads are one of the most impactful of
all, with 37% reporting that they discover new brands or products
from them. Spending the longest time watching linear TV each day,
older age groups are most responsive to TV ads. 46% of 55-64s
discover new brands that way, though 33% of 16-24s say the same.
27% discover brands via product placements in TV shows or
movies. In contrast, cinema ads come in towards the bottom of the
list. Even for those who go to the cinema each month, this share
doesn’t rise above the 20% mark.
Digital media has brought new challengers in commanding eyeball
time, but how do these compare for brand discovery? If we look at
vlogs and their core audience of Gen Zers (internet users aged 16-
21), 56% have watched one in the last month, but only 16% say they
discover brands through them. For the time being at least, it doesn’t
look as if most vlog watchers see them as a place to discover brands.
The ease with which digital media allows users to avoid ads on
entertainment channels has shifted the emphasis somewhat onto
brands to create their own entertainment. A quarter of internet users
have watched a branded video in the past month, and there are a
number downloading branded apps and playing branded games
as well. They may be minority activities in their own right, but 4 in 10
internet users are doing at least one of the three each month. That’s
a significant slice of the online population looking to brands for
entertainment, and shows the potential rewards in creating content
that users actively want to seek out.
ADVERTISING AND ENTERTAINMENT
BRANDED ENTERTAINMENT
% of internet users who have done the following in the last month
Watched a video
made by a brand
Downloaded/used
a branded app
23% 16%
Played a
branded game
13%
Question: In which of the
following ways are you most
likely to find out about new
brands, products, or services?
Source: GlobalWebIndex Q1
2018 Base: 109,780 internet
users aged 16-64/90,021
internet users aged 16-64
19BRANDS AND
ENTERTAINMENT
http://g-web.in/1jbh045
http://g-web.in/1PjFHb2
Entertainment
Social Media and
Entertainment
Flagship Report 2018
Social Media and Entertainment
As we’ve already seen, digital music and TV streaming services are
growing. But these have a second home: social media. As part of a
trend of social behavior moving from sharing status updates towards
more purposeful activities, with 37% of internet users saying they go
to social to find entertainment, social media platforms are evolving
into content hubs. Since mid-2017 we’ve seen Facebook establish
its Watch service and Instagram launch IGTV. Facebook also made
a series of acquisitions in 2017 that revealed its interest in taking
a stake of the music industry. This isn’t an unprecedented move;
Facebook’s Russian equivalent, VK, has its own music streaming
service, and Tencent-owned WeChat in China has been fully
compatible with its parent company’s music streaming streaming
service, QQ Music, for some time.
44% of internet users have watched a video
on social media in the past month
But it’s sports that may be the trailblazer for entertainment on
social. Thanks to the rise of livestreaming on social media, sports
entertainment has quickly found a home across many of the major
social platforms. 19% of internet users go to social media to follow
sports events, rising to 40% for those personally interested in sport.
A quarter of the Sports Fans segment comment on social media
while watching the action, so it makes sense to close the loop
and provide the content as well as the commentary around it.
With Twitter hosting Major League Baseball fixtures, and Facebook
becoming the first social media platform to take on rights for the EPL
anywhere in the world with their successful bid to stream in South
East Asia, sports content looks set to be a cornerstone of the social
media industry’s future strategies. Question: What are your main reasons for using social media?
Source: GlobalWebIndex Q1
2018 Base: 90,021 internet
users aged 16-64
SOCIAL ENTERTAINMENT
% who typically use social media for the following reasons
21SOCIAL MEDIA AND
ENTERTAINMENT
Introducing Watch, a New Platform For Shows On Facebook
http://g-web.in/1ydtTvL
GLOBALWEBINDEX SAMPLE SIZE BY MARKET
This report draws insights from GlobalWebIndex’s Q1 2018 wave of research
across 42 countries, which had a global sample size of 109,780 (with 90,021 sur-
veys completed on PC/laptop/tablet and 19,759 surveys completed on mobile).
Argentina 1,581
Australia 2,291
Austria 1,326
Belgium 1,301
Brazil 2,330
Canada 2,288
China 15,142
Egypt 1,759
France 3,329
Germany 2,906
Ghana 1,000
Hong Kong 1,787
India 4,063
Indonesia 1,785
Ireland 1,250
Italy 2,836
Japan 1,791
Kenya 1,000
Malaysia 1,556
Mexico 2,602
Morocco 1,000
Netherlands 1,312
New Zealand 1,288
Nigeria 1,000
Philippines 1,561
Poland 1,833
Portugal 1,310
Russia 2,296
Saudi Arabia 1,256
Singapore 2,517
South Africa 1,527
South Korea 1,280
Spain 2,849
Sweden 1,292
Switzerland 1,265
Taiwan 1,819
Thailand 1,533
Turkey 1,576
UAE 1,781
UK 7,810
United States 16,179
Vietnam 1,573
22Notes on Methodology
All figures in this report are drawn
from GlobalWebIndex’s online re-
search among internet users aged
16-64. Please note that we only in-
terview respondents aged 16-64 and
our figures are representative of the
online populations of each market,
not its total population.
OUR RESEARCH
Each year, GlobalWebIndex inter-
views over 400,000 internet users
aged 16-64. Respondents complete
an online questionnaire that asks
them a wide range of questions
about their lives, lifestyles and digital
behaviors. We source these respon-
dents in partnership with a number
of industry-leading panel provid-
ers. Each respondent who takes a
GlobalWebIndex survey is assigned
a unique and persistent identifier re-
gardless of the site/panel to which
they belong and no respondent can
participate in our survey more than
once a year (with the exception of
internet users in Egypt, Saudi Arabia
and the UAE, where respondents are
allowed to complete the survey at
6-month intervals).
OUR QUOTAS
To ensure that our research is reflec-
tive of the online population in each
market, we set appropriate quotas
on age, gender and education –
meaning that we interview represen-
tative numbers of men vs women, of
16-24s, 25-34s, 35-44s, 45-54s and
55-64s, and of people with second-
ary vs tertiary education. To do this,
we conduct research across a range
of international and national sources,
including the World Bank, the ITU,
the International Labour Organiza-
tion, the CIA Factbook, Eurostat, the
US Bureau of Labor Statistics as well
as a range of national statistics sourc-
es, government departments and
other credible and robust third-party
sources.
This research is also used to calculate
the “weight” of each respondent; that
is, approximately how many people
(of the same gender, age and educa-
tional attainment) are represented by
their responses.
MOBILE SURVEY RESPONDENTS
From Q1 2017 on, GlobalWebIndex
has offered our Core survey on mo-
bile. This allows us to survey internet
users who prefer using a mobile or
are mobile-only (who use a mobile to
get online but do not use or own any
other device). Mobile respondents
complete a shorter version of our
Core survey, answering 50 questions,
all carefully adapted to be compati-
ble with mobile screens.
Please note that the sample sizes
presented in the charts throughout
this report may differ as some will
include both mobile and PC/laptop/
tablet respondents and others will
include only respondents who com-
pleted GlobalWebIndex’s Core sur-
vey via PC/laptop/tablet. For more
details on our methodology for mo-
bile surveys and the questions asked
to mobile respondents, please down-
load this document.
https://knowledge.globalwebindex.net/hc/en-us/article_attachments/115006124069/Core_Surveys_via_Mobile.pdf
INTERNET PENETRATION RATES ACROSS
GLOBALWEBINDEX’S MARKETS
GlobalWebIndex’s research focuses exclusively
on the internet population and because internet
penetration rates can vary significantly between
countries (from a high of 90%+ in parts of Europe
to lows of c.20% in parts of APAC), the nature of
our samples is impacted accordingly.
Where a market has a high internet penetration
rate, its online population will be relatively simi-
lar to its total population and hence we will see
good representation across all age, gender and
education breaks. This is typically the case across
North America, Western Europe and parts of Asia
Pacific such as Japan, Australia and New Zealand.
Where a market has a medium to low internet
penetration, its online population can be very dif-
ferent to its total population; broadly speaking,
the lower the country’s overall internet penetra-
tion rate, the more likely it is that its internet users
will be young, urban, affluent and educated. This
is the case throughout much of LatAm, MEA and
Asia Pacific.
This table provides GlobalWebIndex forecasts
on internet penetration (defined as the number
of internet users per 100 people) in 2018. This
forecasted data is based upon the latest internet
penetration estimates from the International Tele-
communication Union (ITU) for each market that
GlobalWebIndex conducts online research in.
GLOBALWEBINDEX VERSUS ITU FIGURES
As GlobalWebIndex’s Core Research is conduct-
ed among 16-64 year-olds, we supplement the
internet penetration forecasts for a country’s to-
tal population (reproduced above) with internet
penetration forecasts for 16-64s specifically.
Forecasts for 16-64s will be higher than our fore-
casts for total population, since 16-64s are the
most likely age groups to be using the internet.
INTERNET PENETRATION RATES (GLOBALWEBINDEX’S FORECASTS
FOR 2018 BASED ON 2016 ITU DATA)
Table below refers to the total population in each market
Argentina 77.1%
Australia 90.4%
Austria 86.3%
Belgium 89.0%
Brazil 65.9%
Canada 92.3%
China 58.4%
Egypt 45.2%
France 87.5%
Germany 91.9%
Ghana 45.6%
Hong Kong 91.8%
India 40.1%
Indonesia 32.7%
Ireland 84.0%
Italy 62.1%
Japan 95.8%
Kenya 37.9%
Malaysia 81.2%
Mexico 69.5%
Morocco 59.4%
Netherlands 90.4%
New Zealand 91.6%
Nigeria 32.5%
Philippines 60.8%
Poland 76.6%
Portugal 75.1%
Russia 81.3%
Saudi Arabia 81.3%
Singapore 84.3%
South Africa 60.9%
South Korea 94.5%
Spain 85.2%
Sweden 89.0%
Switzerland 90.6%
Taiwan 81.1%
Thailand 57.8%
Turkey 64.2%
UAE 93.4%
UK 96.1%
USA 79.0%
Vietnam 51.2%
Notes on Methodology: Internet Penetration Rates 23
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Chris Beer
Trends Analyst
chris@globalwebindex.com
@ChrisBeerGWI
Jason Mander
Chief Research Officer
jason@globalwebindex.com
@thejasonmander
www.globalwebindex.com
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