Homepage

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

Niamh said “The larger platforms like Meta are scrambling to catch up with the TikTok offering. Products like Facebook Reels are a real copycat product."

Calling TikTok “the platform of the moment”, she explained the real challenge for social media players is being able to monetise on this redirected ad spend on this notoriously difficult short-form video form.

Tom said “The unprecedented thing about Channel 4 was that it basically took, and still takes, money from advertisers and funnels it directly to independent production companies that Channel 4 doesn’t own. It also had risk-taking and diversity of opinion written into its remit."

“The problem is, what makes Channel 4 special is not economically defensible. If you asked any media company if they’d commission It’s a Sin, they’d say yes because it was a huge hit. The point of Channel 4 is all the risk-taking shows that no one watched. If you see what the people who made those shows did next, that’s where the value is. It’s about the failures that went on to create success.”

Looking beyond the U.K. and U.S. Claire suggested certain European powerhouses such as Vivendi, which controls one third of key Channel 4 supplier Banijay, and RTL parent Bertelsmann, which owned Channel 5 between 2005 and 2011.

“The outcome will drive the net result and identity of Channel 4’s suitors,” added Enders, who predicted UK producer trade body Pact will “fight this every inch of the way” on behalf of its members.

The Government intends to privatise Channel 4 through its forthcoming Media Bill.

Given the uncertainty of the investment in Channel 4 and the limited upside from advertising, the only likely buyers are other broadcasters.    

There are potential costs to the UK if the unique programming output of Channel 4 is lost and in the reduced funding of the independent production sector.

 

As part of the House of Lords Communications and Digital Committee inquiry into the future of BBC funding, Claire Enders gave oral evidence. Here we reproduce her accompanying slides.

The presentation highlights the reliance placed upon the BBC for information during the pandemic, and contextualises the value of the licence fee to consumers alongside the cost of other sources of news and entertainment. It further notes the significant proportion of viewers that lack the means, or do not wish, to pay for any video service beyond the cost of the licence fee.       

While a subscription model has been mooted as an alternative to the licence fee, recent volatility in the market has magnified concerns around the sustainability of the streaming model, and while growing penetration and investment in content by these services remains impressive, there is less certainty around the future plurality and distinctiveness of these platforms, and the related cost to subscribers.