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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 Enders Analysis, said: “It has been a tough few years for the company with escalating competitive pressure from alt nets in particular and an operationally complex move to full-fibre. “There are, however, reasons to believe that the threat from the alt nets will wane, and the most challenging fibre complexities will soon be behind them.”

Women’s sport press news coverage during the 2024 Paris Olympics has softened after three years of record-breaking highs, though it remains up 3.8x on 2016 levels

Publications vary in their representation, with populars increasing article numbers faster, though qualities continue to devote more space to women. Success is a key generator of ‘newsworthy’ content

Coverage of women’s sport, despite falling article numbers, is larger and more prominent than before, and the threshold for inclusion continues to fall—signalling wider normalisation of women in sports pages
 

The likes of Gardeners’ World, DIY programmes and films about urgent domestic issues and obscure parts of the country would be threatened if the broadcaster were forced to implement a Netflix-style paywall for the next charter period from 2027, according to Enders Analysis. It said: “A shift to a subscription-funded BBC would undermine a crucial tenet of its public service mission by narrowing access. This would severely reduce the impact of the BBC’s public service content, which has wide reach across society.

A subscription funding model would be antithetical to the BBC’s public service mission, necessarily ending universality of access and undermining its breadth of content. 

Options like separating out “public service” content from other programming would result in a decline in news consumption, while the subscription model would risk sustainability and encourage short-term thinking. 

Further, there are technical roadblocks to executing this model, meaning that it is not feasible until long after the end of the current Charter in 2027.

A study conducted in the United Kingdom by the firm Enders illustrates how the Google-owned video giant is inspired by (and sometimes feeds on) the content of the channels. "In the past, television and YouTube content were polar opposites," the report says. This is changing, with more and more overlap in the offers." Three figures show the growing weight of YouTube on the small screen. As the experts at Enders point out, the YouTube model is still struggling to become the preferred distribution channel for programs that are expensive to produce. On YouTube, "you need a huge volume of videos viewed to break even," the authors of the study point out. Most YouTubers have other sources of income besides advertising revenue."
Karen Egan, analyst at Enders Analysis, said the latest stake-building comes as Slim cashes in on 'recent weakness' in BT's share price – seeing it as a 'buying opportunity'. The deal is a setback for BT, the country's largest broadband and mobile operator, whose Openreach network is also used by Sky to provide broadband. Because of this, Egan said: 'I don't think that Slim will be seeking to take control at any point, but sees the investment case in the shares.'
“It’s a tough market for viewing and monetisation which means everyone wants to derisk, so programming shifts towards those things and people already known to be popular,” explains Tom Harrington, analyst at Enders Analysis. “This makes things very difficult for smaller production companies but also makes the output very safe and derivative – think Jamie Oliver doing an air fryer show on Channel 4.” For the viewer, says Harrington, this means more of the same only more so. “Non-objective celeb docs is part of a wider embrace of branded content on TV,” he explains. “Brand-funded entertainment is hardly new but getting advertisers to invest in programming in a more holistic way is now seen by some as a bit of a panacea for TV. A celeb producing and probably partly deficit funding a series featuring themselves is no different from a brand investing in a drama that mythologies its origins or a cooking show funded by M&S about M&S.

SpaceX and its Starlink satellite network have made headlines dangling a vision of free emergency service coverage direct to all mobile devices, undoubtedly connected to its ongoing battles for FCC approval.

Starlink is the clear leader in the D2D space and almost certainly will be the first to launch its service. AST Space Mobile, backed by various mobile operators (including Vodafone) is lagging significantly behind, having not yet launched any commercial satellites.

The UK is however a relatively unfavourable geography for D2D, due to its high latitude and relative density, and we don't expect any launch of commercial service in the UK by Starlink or AST Space Mobile before 2026.

Gareth Sutcliffe, from Enders Analysis, told Sky News the game "ultimately reflects a decision Disney took some years ago to get out of the games business, now the highest growth entertainment sector globally, and to rely exclusively on third parties such as Ubisoft to deliver titles with Disney's most valuable and treasured IP. "In this case you end up with a highly-anticipated open world game, but no tie-in with the wider franchise, no series or film release, or remotely equivalent marketing push. "It reinforces the view that Disney is out of position on games, and sees them as an afterthought, which doesn't build confidence for the pending Fortnite partnership with Epic."