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“The worry for Character.ai is the things it is doing can easily be replicated by big tech firms with financial firepower and huge global reach,” said Jamie MacEwan, an analyst at Enders Analysis. “Those star founders were its biggest selling point in the industry, I’m not sure if without them it can pretend to hold on to a technological edge.”
“The DPC’s decision when announced could heap political pressure on TikTok,” said Jamie MacEwan, a senior research analyst at Enders Analysis, a London-based research firm.
Measures could include requiring further commitments from TikTok to open European data centers for storing its user data locally.
Still, “unless there are any truly explosive revelations, tensions will be resolved along technical lines rather than through calls for a ban,” he said.
2023 was a challenge for Channel 4: with the advertising market failing to recover after a difficult start, the unpredictability led to an unexpected YoY drop in content expenditure
In 2024, advertising revenue is expected to be flat, which provides a more stable planning base. Recent volatility has tested the broadcaster’s flexibility and proactiveness, above its competitors who are more insulated
To that end, Channel 4’s process of diversifying its business—the difficulties of 2023 show that it needs to be supported in these endeavours if the sector wants a consistent return of benefits
In the next fixed line regulatory review—TAR 2026—Ofcom is likely to maintain light regulation on Openreach’s pricing levels, while also maintaining strict restrictions on its pricing structures, which both help altnets.
On other matters, none of the interested parties (Openreach/altnets/ISPs) look like getting exactly what they want, but by and large the industry will likely get what it needs—regulatory stability with a broadly pro-investment slant.
The next TAR in 2031 is likely to be more dramatic, but by our estimates, even a full return to cost-based charging will not result in significant wholesale price cuts, which is likely to be a relief to longer term investors in BT and the altnets alike.
Broadcasters are accelerating their transformation into digital-first businesses. We estimate that 17% of broadcasters' viewing on the TV set will have been delivered by IP this year.
FTA platforms have a more complex migration pathway to IP than pay-TV. Given the existing strength of DTT, and its older demographic profile, DTT will account for more broadcaster viewing hours than satellite/cable combined by 2029.
By 2040, we estimate that half of all broadcaster viewing will be via IP, with broadcast delivery remaining strong due to the live schedule.
“The volume of true crime surely asks for that,” says Tom Harrington, Head of Television at Enders Analysis. “With the coming of the streamers, every crime that’s happened has a documentary now and it’s sort of like… I guess you have to stand out.”
Telefónica’s innovation can be directly relevant to the media sector — it owns Spanish pay TV and SVOD operator Movistar Plus+, Europe’s largest film and TV investor among telcos. But it will play out over a far wider scale. The focus at Barcelona’s Mobile World Congress was largely on gaining cost efficiencies in mobile operators complex systems, observes James Barford of London-based research company Enders Analysis.
This report is free to access
We view the CMA's proposed remedies to the Vodafone/Three merger as workable, but not necessary.
While acknowledging the reassurance that short-term pricing commitments can provide, we are of the view that going too far risks distorting a highly competitive market.
Aggressive MVNO pricing commitments, in particular, could amplify a significant drain on the operators' capacity to invest, threatening the network promises that the companies are making.
“You can make an enormous amount of money from a kids TV show and it can be more successful than almost any other large format,” agrees Tom Harrington, analyst at Enders Analysis. “It travels well, language can change easily, there’s a new audience every couple of years and lots of merch opportunities. But to get commissioned in the first place is very difficult. In the UK there’s so many limits on what ads you can put around it so there’s no demand from advertisers and it’s not a good business for commercial broadcasters.”