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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

“Netflix remains ruthlessly analytical and laser focused on engagement in the games space, and doesn’t have arbitrary guardrails for what is on or off platform,” said Enders Analysis head of media technology and games Gareth Sutcliffe in an interview with GamesBeat. “Roblox activations will remain in the games and marketing portfolio for some time, as it’s more than a quick execution sandbox given its current high growth trajectory. The brand support tools Roblox is bringing online combined with the overall UGC model are substantively complementary rather than competitive.”

Recently awakened sleeping giant Amazon is using its vast resources to ramp up an aggressive open web stance, offering advertisers low take rates through its DSP.

Adtech firms risk destroying their own margins in response, so are increasingly extending their positions across the value chain as they compete to offer ‘end-to-end’ services.

2026 will be make or break for the agency holding company model as Omnicom resets and WPP’s need to see the benefits of its turnaround becomes urgent.

The U.K.-based subscription research company Enders Analysis investigated the question in a new cheekily titled report, "A big apple, uneven bites."

The New York Times and Financial Times — both with bustling subscription businesses — are notably absent from Apple News.  Apple News+ subscriptions are “straightforwardly additive” for news businesses that don’t already have “large, mature owned-and-operated subscription businesses,” the Enders report argues.

For more traffic-dependent publishers, Apple News can provide “a rare buffer in a volatile environment,” the report says. “As discovery via search becomes less reliable, millions of users now encounter premium journalism through a service they already pay for, lowering friction and reinforcing Apple News as a default entry point.”

So is it worth the effort? A report on Apple News in the UK from subscription research service Enders Analysis suggests the answer varies sharply between different types of publisher—but for some, it can offer strong visibility, some revenue and, if leveraged right, even subscriber acquisition.

Apple News+ is the paid version of Apple News, which comes pre-installed on Apple devices and provides users with in-app access to certain paywalled content from partner publishers. Enders estimates 1.7 million people in the UK have access to Apple News+, most of them through the bundled “Apple One” subscription offer. If correct, that would mean Apple News+ has more subscribers than any individual news brand in the UK.

Enders suggested UK Apple News+ generates subscription revenue above £100 million ($136 million) annually, of which half is distributed to partner publishers, distributed proportionate to the share of clicks they generate within the platform.

”Even though their platform has been incredibly successful, it doesn’t have that immediacy and urgency around the content which traditionally TV has thrived on,” says Tom Harrington, head of television at Enders Analysis.

But Harrington says that for Netflix, it’s not clear that Skyscraper Live will drive an increase in subscriptions. He says the streamer is just trying to stop current subscribers leaving.

“For a subscription service, it’s always a battle to retain the people you have. If there’s awareness of this sort of event, and they have more events like this,” he said, “theoretically that makes them a little bit more future-proof when it comes to churn.”

Looks as though the BBC is abandoning public service broadcasting, right? Well, Abi Watson, Head of Publishing at Enders Analysis, believes otherwise, who told us, “It has an obligation to produce creative, high-quality, distinctive content – and that isn’t platform-specific, which does involve the BBC experimenting with new formats, not just recycling linear TV for digital spaces.”

That aside, the other determining factor for the BBC's decision to go ham on digital viewing rests on shifting viewing habits, which Watson also touched on. “Second, it has a duty to reach audiences where they actually are. Viewing habits have shifted materially: around 10% of TV-set viewing in the UK now goes to YouTube, and for under-35s, it’s closer to a quarter," she added.