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Enders Analysis provides a subscription research service covering the media, entertainment, mobile and fixed telecommunications industries in Europe, with a special focus on new technologies and media.

Our research is independent and evidence-based, covering all sides of the market: consumers, leading companies, industry trends, forecasts and public policy & regulation. A complete list of our research can be found here

 

Rigorous Fearless Independent

Karen Egan, head of telecoms at consultancy Enders Analysis, told the BBC that TalkTalk, which had 4million customers in 2019, has become laden with debt and ‘struggled to invest’ in keeping them.

‘At the same time, the industry’s become incredibly competitive – a lot of excess market entry – and prices have collapsed,' she said.

Ms Egan said about £1billion of debt was likely to have to be written off as part of the sale process, which would be a ‘very large number for the banks to swallow’.

She added: ‘I’d be surprised if there’s actually real disruption for the TalkTalk customers. If indeed this deal with Opus Broadband goes ahead they will take over the running of the operations I would expect.’

The government is considering an update to the definition of public service media, to ensure its provision across a converging, over-populated online media ecosystem.

This opens up difficult questions about how we should define and incentivise quality content, and content that serves the public good—as well as defining success in carrying out public service obligations.

These definitional challenges bleed into the practical challenge of designing a prominence system for online platforms. There must be realism about the commercial upside to such a system for PSBs, and any potential to disadvantage other types of content creators. 

 

Tom Harrington, head of television and media research company Enders Analysis, told The Media Leader “the concessions appear quite palatable for Paramount”. He noted they are mid- rather than long-term concessions, “meaning they may well have little impact on what was going to happen anyway”.

Harrington described that the terms of the settlement mean there is “little protection for longer-term studio cinema output, for which Paramount and Warner are incredibly important,” which could result in a “declining volume and breadth of films being theatrically released”, negatively impacting cinemas just at the moment the film industry is finally emerging from a post-Covid and post-writers' strike slump.

As the growth of streaming viewing slows, the narrative is being reshaped around the types of engagement these platforms can command.

With a common set of metrics across UK streaming platforms, we have categorised and quantified different types of engagement.

While focus inevitably is being directed to intensive, high-value engagement, this is the minority: most viewing is probably fungible, with a large proportion to older, non-exclusive content.
 

Video-sharing platforms give brands unprecedented freedom to commission and distribute entertainment, but building an audience is different from buying one.

The opportunity depends on brands turning fleeting attention into lasting affinity and, ultimately, commercial value.

As brands take greater control, money and responsibilities are shifting across the value chain, creating new opportunities and risks for broadcasters, producers and creators.