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Rigorous Fearless Independent

James said £180m a year would be saved by shifting Virgin Mobile’s network to O2, despite a recent deal for Vodafone to underpin the service. He believes about £100m in tax benefits are there for the taking by “netting O2’s profits against accumulated losses at Virgin Media."

He added “Switching [Virgin Mobile’s network] and backhaul supply is complicated but routine work for a telco. Merging customer service and sales is complicated and a big job, but the extent to which they will merge these is unclear. They can keep them fairly separate indefinitely.”

Francois said “What the breakaway clubs really want is to take control of the Champions League. It is a very aggressive attempt to get Uefa to sign up to a revamp of the Champions League that gives them more power and commercial returns. The two events can’t co-exist. If the Super League were to launch, the Champions League will just collapse.”

He added “I do not think a European Super League will have much impact on the configuration of the UK broadcasting market, Sky would, of course, have a look, but they have taken a step back and are increasingly focusing on being an aggregator of content, so I don’t see a bidding war for exclusivity. There is no sign of a new entrant and Amazon show no sign of buying more than just limited amounts of sports rights. I would expect the US owners of some of these clubs would like to replicate some of the US sports rights market and try to seek more than one broadcast partner.”

Francois said "If I was a buyer the first thing I would look at is how will this affect the value and how much will I have to pay for the Super League. 'I do not know how the Premier League can carry on its auction. It is difficult to see how it could hold an auction right now. To me in this situation, [postponing it] will be the unavoidable outcome unless what we are seeing is brinkmanship [from the Super League clubs."]

Spotify paid $5 billion in royalties last year to the music industry. Critics claim the $0.0038 per-stream average royalty rate is too low. However, this is largely due to high volumes of ad-funded listening, a core part of Spotify’s freemium model, and a defence against piracy. 

To silence the critics, the “Spotify Loud & Clear” site presents data on the distribution of industry royalties, which are heavily skewed to established artists. Only the top 5% of artists generate annual industry royalties above $1,000, though they take home less under their deals. 

The remaining 95% of artists on Spotify generate under $1,000 a year and use the platform mainly to reach fans that attend live gigs, their primary source of income, now halted by the virus. These artists’ problem is digital discovery, as Spotify’s playlists push hits rather than the midlist. 

The sector rebounded slightly in the quarter to December thanks to a seasonal improvement in the roaming drag, although the partial lockdown tempered the recovery.

We await imminent news on spectrum trading, and there may also be some licence fee reductions as a consequence of the lower prices in the recent 5G auction.

While the sector is likely to continue to struggle into Q1, the outlook is much brighter thereafter thanks to the annualisation and even reversal of some lockdown effects, and to higher price increases from the spring.

Despite relying on a narrow IP base, US content production is booming, overwhelming other markets and seeking alternative distribution to cinema.

Responding to the rise of Netflix and Amazon Prime, studios seek to shift distribution from wholesale to retail—but only Disney may succeed.

Most content is likely to remain accessed by consumers through bundles. Provided they engage with aggregation, European broadcasters can adjust to the new studio model.

Douglas said Reuters is “a tremendously powerful part of” the Thomson Reuters brand, and that “the mighty Reuters newsroom behind you and all the really specialized business assets is a great combination.”

He added that convincing consumers to pay for content is challenging because “Reuters is a brand that a lot of people recognize but don’t intuitively go to.” But he is more optimistic that targeting professionals could succeed for Reuters. “All the evidence says to me that these are the subscription models that really work."

The pandemic has caused an unprecedented demand boom and revenue windfall for the games industry, allowing developers to ease production bottlenecks, assist remote working, and spend more cash on games that matter.

Producing quality game experiences remotely—from greenlight through to release—has driven innovation and flexibility, and much needed change for game studios.

Most large game developers expect a return to in-studio development late in Q3 2021. Many workers hope a return will not also bring back toxic game production environments.