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Sanchit says the year has been spent mitigating damage. Many titles, such as the latest James Bond instalment No Time to Die, were set for wide release and then postponed.
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.
Joseph said "It's at the intersection of several hot trends - audio, live and social, and it's recreating some of the things we can't do normally because of the coronavirus pandemic restrictions, such as attending a talk or having a group conversation."
He added "A few years ago Facebook would probably have already put an offer on the table [for Clubhouse], but it's not in the market for another social network because of the competition scrutiny that it's under, so Facebook's only option is to compete with it."
Alice said “Bloomberg Green’s appeal will be scale, as well as reaching the right people — in this case, business-oriented and climate-concerned individuals."
Tom said shows have performed “comparatively poorly to local programmes” made by the broadcaster. “It will be a short-lived agreement with FX programming destined for Star on Disney+ in the UK. So the volume [of American shows] will decline even though the BBC is clearly on the lookout for cheap new programming to help its content budget squeeze/plug holes due to the Covid production shutdown.”
In a bold attempt to expand, DAZN has won Serie A rights for 2021-24.
With a worst-case scenario of 14% decline in revenue from domestic rights, the Italian league will limit losses, but runs the risk of more long-term damage.
Sky takes a calculated risk, and sends strong messages.