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

Claire said They have always been a deterrent, a very serious media company that no one wants to piss off. They aren’t your average garden variety deterrent, they are a big monster deterrent.”

She added “It is not viewed as a badly run business, it is efficiently and well run. Every part of their business is doing extraordinarily well at this time. A couple of exceptional years and people will see the core of the business is not in this secular decline. ITV is not getting the credit it should, but it will do.”

Fuelled by savings piles accumulated under work-from-home (WFH) and asset price inflation, the strong recovery of private consumption in H2 2021 from the depths of successive lockdowns drove spectacular growth in UK display advertising, up by 24% on 2020 to £16 billion, noting base effects from the dramatic plunge in 2020

With consumers largely WFH in 2021, TV soared 25%, online 28%. Spend on cinema and out-of-home (OOH) in 2021 remained well below 2019 values. In-home goods and services have been strong while those consumed OOH are weak. Government spend on public health messaging remained high in 2021

Private consumption, now also impacted by CPI inflation, will trend upwards in 2022 and power display advertising growth of over 9%, driven by online spend and the continued recovery of cinema, OOH and the press. The sunny uplands we forecast for 2022 could rapidly cloud depending on the course of Omicron as we face Year 3 of the pandemic

 

Abi said some investors were also reluctant that they could be “losing out” on any upside of online growth in titles like the Daily Mail if the group went private. “What this ignores is how many more online users would be required to fully replace declining print revenues and the scale of investment needed to transition the print readers of the Daily Mail to an online membership model of some kind."

 

Alice pointed out the symbiotic relationship between the success of streaming platforms and catalogue investments: “There is no question that the rise of music rights is led by the rise in streaming. Streaming has also increased as more people are staying at home in the pandemic to consume music.”

She added that it is “all about scale”, and trying to acquire as many rights as possible, especially ‘evergreen’ records. Evergreen tracks would be older music from the 60s,70s, and 80s that is already valuable and popular.

Seven years after the launch of its membership initiative, The Guardian has reached one million digital-only subscriptions

Not coincidentally, longer-term financial sustainability looks within reach, as The Guardian posted an adjusted operating profit of £3.1 million in 2021, with reader revenues making up more than half of total income

A fine-tuned governance structure and key management changes indicate better alignment between the core journalism activity and the enterprise, designed to ensure that its independence is sustainably delivered

Growth in European content supply may soon reach a tipping point as streamers shift from market grabs to profitability, while resources poured into production from states, consumers and advertisers are declining

The perceived value of long-form video content is dropping as consumers pay smaller amounts for a greater volume of choice, from which they are watching less

However, factors converge to prop up the European independent model: broadcasters’ resilient financing, the public favouring ‘deep’ local fare, talent’s preference for independents, market consolidation and new EU regulation

Francois said “We’ve been through four or five years when all the new money [in Europe] was coming from the streamers." he adds that sometimes the streamers “have been pretty generous,” prompting costs of talent, crew and facilities to rise in some countries.

“But this is going to stop at some point. The streamers are starting to become more stingy; maybe some of them are going to start cutting back.” And, rather than high-end shows like Netflix’s “The Crown,” they are starting to spread their resources widely, spending more on documentaries and non-scripted content, which is cheaper to produce.

European mobile revenue growth was flat again this quarter as a larger boost from annualising the roaming drag was outweighed by B2B weakness, a waning mobility boost and the unwind of pandemic upsides.

Italy saw the biggest improvement in its underlying trend as Iliad struggled to regain momentum, while competitive tension remains elevated in Spain and France.

Q4 looks mixed before 2022 kicks off with some market-specific positives for the UK, but the other European countries will finally face the impact of end-of-contract notifications.