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Rigorous Fearless Independent

This report is free to access.

Female-led and equally-led employers numbered 550,000 in the UK in 2019, a 40% share of 1.4 million businesses. These are often sub-scale businesses requiring financial and digital skills to scale up.

Female-led businesses cluster in education, health, food and accommodation, the latter being highly exposed to the pandemic. The more protected and dynamic ICT sector has low female engagement, which higher levels of study of STEM subjects will remedy.

Consumers are embracing digital to live and work through the pandemic. Enterprises that are digital and digitally-enabled will survive and flourish, supported by initiatives from Google, Facebook and others.

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BritBox UK is reportedly planning to release six new originals a year to keep people subscribed to the streaming service. While that’s an impressive slate of dramas, it might not be enough to keep up with the other streaming services, which are churning out tens of new shows every month of all different genres. “TV is a hits business, and you don’t know if something is going to work until it does,” explains Tom Harrington, a TV analyst at Enders Analysis. “If you only make a few shows, there’s going to be fewer chances to have that breakthrough hit.”  

Claire suggests hopes of matching the current  deal, worth £5billion over three years, are unfeasible. Instead, Enders believes clubs must steel themselves for a £500m reduction. She said: “The last auction was post-peak, the takings were down and we expect that to continue. “Sky and BT overpaid for rights in the past and BT has suffered a  decline in its value. “Now the UK sports broadcasters are trying to think about reducing their rights costs. “Auctions are emotional affairs and in the past, BT has always blinked and written a  cheque. But they are now in a stronger position and both companies can afford to offer less. “The next auction could lead to a five-ten per cent decline in the rights values in the UK.” 

In this report, we examine the completion rates of every scripted series since 2018 across all the major UK broadcast channels.

Comparing scripted programmes across different channels by overall viewing is difficult as these numbers are affected by promotion, prominence, competition, the quality of online player UIs and availability.

The rate that series are completed—viewing of the final episode as a proportion of the first episode—eliminates these and allows comparison.

Netflix’s usage and churn are “back to what they were a year ago”, while subscriber growth was down (+2.2 million globally) as the two levers—reduction in churn and the "pull-forward" effect of the pandemic—for its recent explosive growth softened

Although there will be some lag, content production is back to a near steady state. Since the shutdown eased Netflix has completed principal photography on 50+ productions and the company is optimistic that it will complete shooting on over 150 other productions by year end

The pandemic has handed Netflix residual benefits, including an acceleration of the changes in viewing behaviour and an improved position in terms of cash: it stated that its “need for external financing is diminishing [so] we don’t have plans to access the capital markets this year”

Douglas said a nuanced balance of “locally-agile contributions, donations and community network” solutions would help JPI’s titles succeed going forward.

He added “JPI revenue declines are broadly in line with industry, at about 28% over two years on a like-for-like basis.”

“It is also clear that the lead titles — the Yorkshire Post and the Scotsman for example — are critical for the value of the estate as a whole. More so as margins, which fell rapidly coming into 2020 (partly as a result of the i sale), will have come under even more pressure since.”