TV Ad Effectiveness Varies Sharply by Genre and Placement, New Report Shows

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SEOUL, April 12 (Korea Bizwire) — A quarter of drama viewers switch channels or stop watching when ads air at the end of a program, while variety show viewers are more likely to stay tuned, according to a recent study highlighting the growing complexity of TV advertising effectiveness in South Korea. The report, released on [...]The post TV Ad Effectiveness Varies Sharply by Genre and Placement, New Report Shows appeared first on Be Korea-savvy.

The analysis revealed that ad effectiveness is strongly influenced by program genre and ad placement. (Image created by AI/ChatGPT) SEOUL, April 12 (Korea Bizwire) — A quarter of drama viewers switch channels or stop watching when ads air at the end of a program, while variety show viewers are more likely to stay tuned, according to a recent study highlighting the growing complexity of TV advertising effectiveness in South Korea. The report, released on April 8, 2025, by ad-tech firm IGAWorks, analyzed ad exposure across nine major networks—including Korea’s three terrestrial broadcasters, four general programming channels, and two cable networks (tvN and ENA)—using anonymized data from 9.

5 million KT IPTV set-top boxes between December 30, 2024, and March 16, 2025. Across all networks, mid-roll ads —those inserted during a program—recorded the highest exposure, averaging 360,000 views per airing , roughly 1.7 times more than pre-roll (220,000) or post-roll ads (210,000).



Terrestrial channels led in overall mid-roll exposure (660,000), followed by cable (370,000) and general programming networks (190,000). The analysis revealed that ad effectiveness is strongly influenced by program genre and ad placement. In dramas, pre-roll ads attracted significantly more attention (480,000 views) than post-roll ads (360,000), suggesting viewers often tune out immediately after the show ends.

In contrast, for variety shows, the gap was minimal—300,000 versus 290,000—indicating a more stable audience even after broadcast concludes. A quarter of drama viewers switch channels or stop watching when ads air at the end of a program. (Image courtesy of Yonhap) Cable networks showed the highest mid-roll efficiency, with ad exposure nearly 1.

94 times higher than for pre- and post-roll spots. General programming channels followed (1.7x), while terrestrial broadcasters posted a mid-roll efficiency of 1.

6x. Notably, cable audiences tended to remain tuned in after the show more often than general programming viewers, who were more likely to tune in early. This genre-specific viewer behavior has implications for media buying strategies.

“Viewers of general programming channels are more likely to be appointment viewers, while cable viewers are more inclined to continue watching even after a program ends,” the report noted. Mid-roll advertising was previously banned on terrestrial networks but was allowed beginning in July 2021 after broadcasters protested the rule as discriminatory. Under current regulations, one mid-roll ad is permitted in 45-minute shows, and up to two in programs exceeding 60 minutes.

However, exposure does not always translate to impact. A separate academic study published in October 2024 warned that mid-roll ads may irritate viewers. Interviews with 35 terrestrial TV viewers revealed many felt “trapped” into watching ads and did not meaningfully engage with the content.

Some perceived the interruptions as manipulative attempts to boost ad effectiveness at the cost of narrative immersion. “Many viewers physically remained in their seats but mentally tuned out,” said Kim Young-ok, professor of communication at Ewha Womans University, who co-authored the study. “Mid-roll ads are often seen as deliberate disruptions designed to commercialize attention, which may backfire by reinforcing negative perceptions of advertising.

” As competition for viewer attention intensifies, the findings underscore the need for more nuanced ad placement strategies that align with content type and audience behavior—especially in an era when channel loyalty is fleeting and second screens abound. Lina Jang ( [email protected] ).