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Dashboard

Documentation

Introduction

The GMICP online dashboard provides an interactive view of global media and internet revenues, market structures and concentration by drawing on data compiled by the Global Media and Internet Concentration Project. The platform offers users the ability to explore ownership patterns and market dominance across countries and sectors.

The dashboard is designed to help researchers, policymakers, journalists, and the public explore trends in media ownership and digital platform dominance. Users can filter by country, industry segment, and year to compare market structures and identify patterns of consolidation.

Countries available include:

Argentina, Australia, Austria, Brazil, Canada, China, Czech Republic, Denmark, Finland, France, Germany, India, Italy, Japan, Mexico, New Zealand, Norway, Russia, South Korea, Spain, Switzerland, Turkey, United Kingdom, United States

The Dashboard is accessible at: www.gmicp.org/dashboard. The Global Media and Internet Concentration Dashboard is hosted by Microsoft Power BI and runs directly in a web browser. No login is required.

Please note that the dashboard represents a current snapshot of the data collected by the project. As a result, data for certain years, sectors, countries, and concentration metrics may not yet be available or may be incomplete.

How to Navigate

Hovering over data elements will display additional details. The data filters at the top of the page can be used to filter by country, sector, and year. When comparing or aggregating data from different countries, please use the currency selector to choose “USD”. This will convert all currencies in US Dollars for cross-country analysis.

The dashboard includes six pages: Total Revenue, Sector Breakdown, Concentration, Country by Revenue, Company by Revenue, and Company by Sector. Use the arrow keys at the bottom of the dashboard or the menu at the top to navigate through all six pages.

Total Revenue: This visualization is a snapshot of the total network media economy of any available country. The stacked bar graph shows which sectors are the largest and how their revenues have changed over time.

Sector Breakdown: This presents two graphs, a revenue composition by sector and a sector revenues bubble chart. These two visualizations allow for closer inspection of the relevant sectors and shows the largest players across a country’s media economy.

Concentration:  This table and sub-visuals show the state of media concentration in a given country and its sectors over time. Select a sector from the left-hand side to activate the longitudinal line graph and the concentration gauge for that sector. It displays market concentration metrics based on the Herfindahl-Hirschman Index (HHI), which measures the distribution of market share across firms.

Country by Revenue: This stacked bar graph allows you to see how different media economies around the world compare in size.

Company by Revenue: This stacked bar graph shows which companies are the largest in world and which countries their revenues come from.

Company by Sector: This stacked bar graph shows which companies are the largest in world and which sectors their revenues come from.

Underlying Data

The dataset supporting the current version of the Dashboard is available for download.

Download Dashboard Dataset

The data is updated on a quarterly basis. For information on updates please see the changelog.

If you have questions about the dashboard please contact the Global Media and Internet Concentration Project Director, Dwayne Winseck: Dwayne.Winseck@Carleton.ca.

If you have questions about specific country data, please contact the corresponding country research team.

A brief methodology explaining how we collected the data for the Dashboard is below. A more detailed description of the Global Media and Internet Concentration Project’s Methodology is also available.

Data Coverage & Quality

  • The data included in the dashboard has been compiled and uploaded with care by research teams around the world. While every effort has been made to ensure accuracy, some inconsistencies or gaps may remain. This is a work in progress, and updates or corrections will be made as new information becomes available.

Interactivity on Mobile

  • The dashboard is optimized for desktop browsers.
  • Filtering and hovering for tooltips can be less precise on tablets or phones.

Copyright

This dataset is released under a Creative Commons Attribution–NonCommercial (CC BY-NC) license.

Those wishing to use the data for commercial purposes are asked to contact Project Director Dwayne Winseck: Dwayne.Winseck@Carleton.ca.

You are free to:

Share — copy and redistribute the material in any medium or format

Adapt — remix, transform, and build upon the material

Under the following terms:

Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.

NonCommercial — You may not use the material for commercial purposes .

No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.

Suggested Citation

Global Media and Internet Concentration Project. (2025). “Global Media and Internet Concentration Project Dashboard.”  www.gmicp.org/dashboard.

Get in touch

If you have questions about the dashboard please contact the Global Media and Internet Concentration Project Director Dwayne Winseck: Dwayne.Winseck@Carleton.ca.

If you have questions about specific data, please contact the corresponding country research team.

Methodology

Primary Project Data

  • Data originates from the GMICP’s research teams, who collected ownership, financial, and market information for media, telecommunications, and core internet sectors across participating countries.
  • Standardized definitions and parameters were applied to ensure comparability across sectors and regions.
  • Government reports, regulatory filings, company financial statements, and press releases were used to verify ownership and market share.
  • Where available, industry associations and trade publications were consulted to fill gaps.

Data Cleaning and Standardization

  • All collected data underwent validation to remove duplicates, reconcile inconsistencies, and standardize formats.
  • Concentration metrics (e.g., HHI) were calculated by individual teams.

Dashboard Integration

  • The final dataset was imported into Power BI, where it was structured for interactive visualizations by country, sector, year, and concentration metric.
  • The dashboard represents a snapshot in time, meaning not all years, sectors, or countries may have complete data yet.

Definitions

Generally refers to Apple’s App Store and the Google Play Store but also the app stores of mobile device makers such as Samsung.

Includes revenue from all book publishing, including textbooks and e-books. The focus is on publishers’ revenue versus those of retail bookstores and/or distributors.

AM, FM, digital terrestrial, and satellite audio broadcasting, both stations and networks. In addition to advertising- and publicly-funded broadcast radio, this sector also includes services that rely primarily on paid subscriptions and satellite distribution.

All “free TV” or public service terrestrial video broadcasting by station and networks supported by advertising and public funds, as well as the retransmission of such channels over cable and satellite.

To determine whether media markets are concentrated or competitive—and the direction of trends over time—our research applies two common economic metrics: Concentration Ratios (the CR4) and the Herfindahl-Hirschman Index (HHI). These methods are applied to each of the media industries that we study and to compare the results across media, time (history) and different countries.

The CR method adds the shares of each firm in a market and makes judgments based on widely accepted standards, with four firms (CR4) having more than 50 percent market share and 8 firms (CR8) more than 75 percent seen as indicators of media concentration.

A desktop browser is application software used to access the World Wide Web.

A desktop operating system manages computer hardware; software resources and provides a common interface that allows people to interact with computers. The two most prominent desktop operating systems at present are Microsoft Windows and Apple’s macOS, although there are a variety of open source operating systems built on top of the Linux operating system. Since desktop O/S are bundled with personal computers, market share is usually measured as the share of Microsoft Windows, Apple macOS, and Linux O/S embedded in such computers, not revenue.

Companies in this sector earn revenue from the sale of physical (boxed) and digital video games, game subscriptions (for example, massive multiplayer online games), in-game advertising, and microtransactions. Revenue is generally reported across three main platform categories:

  • Desktop – Microsoft Windows, Steam, macOS, browsers, and MMOGs
  • Consoles – Sony, Microsoft, Nintendo (including handhelds)
  • Mobile – Mobile app stores or social games delivered via platforms such as Facebook

Game titles may be cross-platform (e.g., Fortnite is available on multiple devices).

Clear boundaries help define this category. Excluded revenue includes e-sports (such as sponsorships), merchandising, non-digital games (e.g., board games), game hardware (controllers, consoles, VR headsets), and platform-owner subscriptions (e.g., Xbox Live, PlayStation Network). The three major console makers are also significant software publishers, and their software sales revenue falls within this category.

Theatre and box office revenue.

The production, distribution and importing of motion pictures and videos. Third party distributors and disc manufacturers and products produced for TV, such as TV shows and made-for-TV movies, are excluded. Film production firms are notoriously difficult to track because they are often combined with film distribution companies and the revenue for each of those divisions is hard to prise apart. It is also the case that film production companies are often set up and wound down on a project-by-project basis as part of a strategy of managing uncertainty and risk in the film industry. That said, there are some significant film production and distribution companies in major markets for which data can be obtained.

This sector covers revenue derived from the control of distribution rights for all television, film and online video services. In other words, it includes revenue from the exploitation of distribution rights for theatrical and home entertainment services as well as special rights for festivals).

To determine whether media markets are concentrated or competitive—and the direction of trends over time—our research applies two common economic metrics: Concentration Ratios (the CR4) and the Herfindahl-Hirschman Index (HHI). These methods are applied to each of the media industries that we study and to compare the results across media, time (history) and different countries.

The HHI method is a fine-tuned method that captures subtler changes and differences in media markets. It squares the market share of each firm in a given market and then totals them up to arrive at a measure of concentration. If there are 100 firms, each with 1% market share, markets are thought to be highly competitive (shown by an HHI score of 100), whereas a monopoly prevails when one firm has 100% market share (with an HHI score of 10,000).

The US Department of Justice embraced a revised set of HHI guidelines in 2010 for categorizing the intensity of concentration. The new thresholds are:

HHI < 1500 Unconcentrated
HHI > 1500 but < 2,500 Moderately Concentrated
HHI > 2,500 Highly Concentrated

Includes companies whose revenue comes from advertising campaigns and advertising placed on the Internet.

Internet access services include broadband and dial-up connections delivered via wireline, cable, satellite, or fixed point-to-point wireless networks. This sector generally excludes mobile data or mobile Internet access. In some countries, however, mobile data/Internet may be included; if so, that can be noted for this sector. Where possible, the reported revenue figure typically excludes rental income or fees/taxes, though this depends on local reporting practices.

Periodicals, mostly consumer oriented, retail magazines rather than professional journals.

A mobile browser is a web browser designed for use on mobile phones and other mobile devices and optimized to display Web content effectively for small screens on portable devices. The advent of mobile browsers have helped to bring about the “mobile web” based on mobile versions of websites and pages on the Internet.

A mobile operating system manages computer hardware, software resources and provides a common interface that allows people to interact with mobile phones and other mobile devices. The two most prominent mobile operating systems at present are Apple’s iOS and Google’s Android. Since mobile O/S are bundled with devices, market share is usually measured as the share of Apple, Google and others’ O/S embedded in mobile devices not revenue. There are many, many “white box” devices that run “forked” versions of Android (i.e. that take the core Android Code and modify it to release their own OS) and tracking these is outside of the scope of the project.

The distribution of linear video programming to end users through cable, DBS/DTH, or IPTV-based delivery over fiber. This sector excludes linear streaming services. In other words, it focuses on the transmission of programming services rather than the individual channels or broadcasters carried by multichannel providers such as Comcast in the United States or Sky in the UK, New Zealand, and Australia.

Revenue for this sector typically combines both the transmission and content/programming components, as these are generally bundled and sold as a single package to subscribers. Separate figures are sometimes reported solely for “Pay Television Programming Services.” The sector is in flux due to cord-cutting and the growth of direct-to-consumer Internet distribution by rights holders and programming services.

The music industry has become immensely more complex over time and now consists of six sub-sectors: 1. Subscription-based streaming services (e.g. Spotify); 2. Download/transactional services (e.g. Apple’s iTunes); 3. Direct retail sales/recorded music; 4. Ad-based services (e.g. YouTube); 5. Publishing royalties (e.g. Bertelsmann); 6. Live entertainment (e.g. Live Nation).

Daily, community, local and national papers. This sector includes revenues from news stand sales, subscriptions, advertising, patronage and public funds.

Online versions of newspapers, magazines, newsletters, and online providers and compilers of regular news. Does not include online blogs.

Firms in this market aggregate and deliver video over the internet. Over time, a range of revenue and business models has emerged, with five main sub-categories:

  • SVOD (Subscription Video on Demand) – A pure-player service where content is provided without commercials (aside from self-promotion) and accessed through a subscription fee (e.g., Netflix).
  • TVOD (Transactional Video on Demand) – A pure-player service where content is commercial-free and purchased for a one-time fee for unlimited viewing (e.g., Apple iTunes).
  • AVOD (Advertising-Supported Video on Demand) – A pure-player service where content is free but supported by advertising (e.g., YouTube).
  • Linear Streaming Service – A system offering linear programming via subscription, often referred to as streaming pay TV or over-the-top TV (e.g., Sling TV).
  • Hybrid Services – Services that combine two or more of the above models. For example, a platform may provide multiple tiers—such as a free ad-supported tier, a paid tier with limited ads, and a premium ad-free tier—or blend linear streaming with AVOD (e.g., Hulu, Peacock, Hulu + Live TV).

Offering on-demand access does not itself make a service hybrid. On-demand components that are part of a negotiated rights agreement are considered “authenticated TV,” similar to cable or DBS providers that allow streaming access for subscribers (e.g., TLCgo, TBS, HBO Go).

This market excludes subscription-based pornography sites and companies whose core function is not on-demand video, such as Facebook or Twitter.

Each sector has an “Others” entry for each relevant year. The aim here is to ensure that every dollar of a topline revenue figure for an industry (such as those from national regulatory and/or statistical agencies, business and trade associations, PwC, European Audiovisual Observatory, IBISWorld, etc.) is accounted for. These entries typically are industry total revenue minus the sum of any individual players with a market share of less than 1%. The purpose is to account for firms active in a market but that have not been accounted for. In other words, the “Others” entry can also be used as a rounding tool or to demonstrate areas of the market which are lacking clarity – a common example of this would be MVNOs in the Wireless sector. Depending on the sector and the size of a nation, an “Others” entry might not be necessary. This can be, for instance, because the data set is complete or the remaining unaccounted for market share so insignificant, that you are confident that each dollar is accounted for among the larger players (such as monopoly sectors).

Television channels/services not distributed free over-the-air but for a fee over cable, satellite or IPTV platform. This includes standard services delivered over multichannel video distribution services such as the Discovery channel as well as premium pay television services such as HBO.

The GMICP’s primary unit of analysis is revenue. This is because it is well-suited to addressing the two questions that are driving this effort and for making cross-media, historical and international comparisons. As such, the focus of the project is on collecting revenue data wherever possible and making best estimates with subscriber, audience and user-based metrics as needed.

Each team in the project is working towards identifying the relevant firms operating in each sector for their country, and, using reliable and publicly available sources (securities/financial reporting is prioritized), locate and record revenue and other select information for all firms with a market share of 1% or more.

Authoritative, topline revenue figures for the telecommunications, internet and media sectors that the GMICP covers is usually obtained from national regulatory and/or statistical agencies, business and trade associations such as the Internet Advertising Bureau, from commercial consultancies such as PwC and IBISWorld or local and regional observatories such as the European Audiovisual Observatory and Nordicom. Topline revenue data is often more readily available than company-level data.

Each sector has an “Others” entry for each relevant year. The aim here is to ensure that every dollar of a topline revenue figure for an industry (such as those from national regulatory and/or statistical agencies, business and trade associations, PwC, European Audiovisual Observatory, IBISWorld, etc.) is accounted for. These entries typically are industry total revenue minus the sum of any individual players with a market share of less than 1%. The purpose is to account for firms active in a market but that have not been accounted for. In other words, the “Others” entry can also be used as a rounding tool or to demonstrate areas of the market which are lacking clarity – a common example of this would be MVNOs in the Wireless sector. Depending on the sector and the size of a nation, an “Others” entry might not be necessary. This can be, for instance, because the data set is complete or the remaining unaccounted for market share so insignificant, that you are confident that each dollar is accounted for among the larger players (such as monopoly sectors).

Major web-based information search systems accessed through mobile wireless services/smartphones, e.g. Google, Baidu, Bing, Yandex, Naver. The focus is on search engine use on portable devices that have a mobile wireless connection to the Internet (i.e. laptops, phones, including both smart and feature phones since feature phones have the functionality of a smart phone, including internet access, and are hugely popular in South east Asia and Africa, for instance). This does not include devices connected to the Internet by way of a wifi connection.

Major web-based information search systems available over wireline connections to a personal computer or other devices, e.g. Google, Baidu, Bing, Yandex, Naver. The focus is on search engine use on devices with a wireline connection to the Internet, i.e. a desktop computer, including by way of a wifi connection.

Major web-based information search systems regardless of access mode, i.e. mobile and desktop search engines combined, e.g. Google, Baidu, Bing, Yandex, Naver.

Platforms whose primary purpose is the sharing of user-generated content and interactions. This can include the sharing of pictures (Instagram), video (YouTube), messages (WeChat), personal information (Facebook) or hybrids of the above (TikTok, Snapchat, etc.) This does not include Blogs, as they do not have an interactive function. More generally, examples of social media companies include Facebook’s Apps (Facebook, Instagram, WhatsApp), LinkedIn, Vkontakte, Twitter, Baidu, YouTube, Vimeo, Reddit, TikTok/Douyin etc. This category does not include SVOD (streaming video on demand) such as Hulu or Netflix as it has no connectivity features or significant amounts of end-user created content.

Companies that produce TV programming licensed or sold to broadcast or cable networks. Movie production is also excluded from this industry, with the exception of made-for-TV movie production. Data for this market is difficult to obtain because there are many smaller television production companies and those companies come and go quickly. That said, there are some significant television production companies in major markets for which data can be obtained.

Mobile wireless service providers offer both mobile voice and mobile data (i.e., mobile Internet access) services. In some countries it is generally not possible to separate these figures into distinct categories, so they are typically reported as a single wireless revenue figure.

This category was originally intended to capture “voice landline” or “plain old telephone service” offered by telephone companies and, more recently, by cable and online providers. It excludes mobile wireless telecom, Internet access services, IPTV, equipment rental or sales, and other elements sometimes grouped here, such as data centres.

Over time, the wireline sector has shifted away from its original focus as revenues from traditional voice service have declined. Revenue and subscriber data for ISP/Internet access and IPTV (multichannel video distribution) services are often reported in the wireline segment; where possible, these are typically separated and recorded in the sheets dedicated to those services. The remaining amount is generally treated as wireline-sector revenue.

The category now commonly includes business services, wholesale services, non-broadcasting OTT services, and related offerings. Some telecom firms—such as Telus in Canada—also classify health, wholesale, or security services as wireline revenue. As these trends continue, the “wireline” sector is increasingly regarded as an “other services” category.

Equipment leasing and sales are usually excluded. Documentation of which services are included can help track how the segment evolves over time.