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Joseph Teasdale at Enders Analysis says: “The priority has to be rebuilding the advertising side of things.

“Yaccarino has the right CV to patch up relationships with large advertisers who’d rather their media buys didn't come with a side of drama.”

He added “Twitter needs someone to steady the ship and reassure advertisers. That’s much more important than what a few crazies think about Yaccarino’s loyalty to the New World Order.”

“I wouldn’t want to be chief executive under such a regime,” says Teasdale at Enders Analysis. “The risk is you get all of the blame with none of the power.”

He adds: “Musk will still be the owner, and I expect he will be as interventionist and unpredictable as ever.”

Disney's fight for the streaming crown causes further problems: With this focus, Disney reaches fewer people through other channels such as TV or cinema, which are important for branding, especially for families, says François Godard, analyst at London-based consulting firm Enders Analysis. "Disney not only needs to make its streaming service profitable, but also draw attention to its iconic content to feed theme parks and merchandising, for example."

Media analyst Claire Enders said news channels rarely made a profit but this was not the objective for owners such as Saudi Arabia.

She said that the state had been watching the media strategy of Qatar — including its acquisition of sports rights — and was in effect using the same playbook.

“Al Jazeera helped normalise Qatar. Saudi has unlimited resources to invest in a similar media strategy to legitimise their position in the world and help them access people. A news channel is part of a wider multibillion-dollar media strategy.”

Karen Egan at Enders Analysis said: “The downward financial spiral of Three UK and Vodafone to an extent is signalling that the market is overcrowded and cannot support four nationwide players at these revenue levels and with an expanding cost base.”

“It is a real scourge. Since Spotify has sought to open up to everyone, for and not only to the majors, it has been confronted with individuals who use bots to inflate the audience of songs that have nothing artistic about them”, underlines Alice Enders, from Enders Analysis. According to her, there are more and more 30-second clips on the platform, no doubt generated by AI. The share of streams from majors and independent labels has thus increased from 85% in 2018 to 75% in 2022.

In this remaining quarter, "there are certainly amateur musicians, who use bots to climb and get noticed by record companies, but also more and more scammers who seek to siphon off the income of genuine creators", she says.