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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

Enders TMT Leaders Live conference 2026

Join our conversation on the outlook for the media, telecoms and tech industries

4th June 2026 | Convene, 133 Houndsditch

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Rigorous Fearless Independent

Sky chief executive Dana Strong has called on government and regulators to take up a “supportive stance” that encourages collaboration between UK media companies and allows them to compete against global players. 

Speaking at the Enders TMT Leaders Live conference this morning, the former Comcast exec talked up the need for “collaboration and partnership” between UK organisations to provide value to customers and keep audiences within their ecosystems. 

Carolyn McCall spoke at an Enders industry conference in London on Thursday.

Asked about this potential shedding of the M&E arm at the Enders TMT Leaders Live conference in the British capital, McCall offered: “Shedding is a bad word,” signaling that she would use a different phrase for the strategy behind the possible deal. But she also highlighted that she couldn’t discuss the possible merger as the talks are ongoing.

Earlier in the conference day, Comcast’s European TV and telecom powerhouse Sky was in the spotlight, with group CEO Dana Strong taking the Enders stage. She was not asked about the potential acquisition of a part of ITV.

Kevin MacLellan told the Enders TMT Leaders Live Conference that his hire at the new Paramount-Skydance, which will soon incorporate Warner Bros. Discovery (WBD), came at a time when the “frightened paralysis” of the film and TV industry was coming to an end.

MacLellan is an international TV and film vet who worked for a decade at NBCUniversal. He was speaking at the Enders conference after international chiefs from Netflix, WBD and Disney.

Content piracy has transformed over the last twelve months into a hyper-scale cyber threat making the risk to even the one-time consumer of pirated video real and increasing. By hijacking devices throughout the home using buried malware known as residential proxies, criminal and other threat actors use pirate content services largely as a key to unlock home networks for their illicit activities.

Over 50% of piracy apps and streaming devices are estimated to contain ResProxy malware, with recent samples tracking even higher.

ResProxy is effectively a runaway cyberweapon as threat actors compete to exploit a newly revealed “democratisation” capability to take over herds of devices. Consumers face grim prospects. Cyber disasters at scale, previously only imagined in Hollywood movies, could be next.

“Temu’s strategy is transitioning to focus more on efficiency and user retention through platforms that offer a balance of targeting and price performance,” said Claire Holubowskyj, senior research analyst at Enders Analysis. “Realigning their advertising strategy towards incremental sales reflects their growing platform maturity and the lower impact of tariff price barriers on consumers already bought into the broader platform experience.”

 

Broadcasters accept the need to ‘meet audiences where they are’ on video-sharing and social/entertainment platforms. In practice this means full episodes where they think viewing is likely incremental, as well as multi-format ‘fandom-building’ content strategies arranged around core IP.

Thriving on platforms requires playing by platform rules. There are sophisticated strategies emerging that straddle marketing and the monetisable distribution of new formats. 

For most, this activity remains fundamentally secondary and supplemental to core offerings. There are concerns around the ability to fund the kind of premium content broadcasters and traditional studios produce via digital platforms, without entirely reconfiguring what it is they do.