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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.

 

Rigorous Fearless Independent

Karen Egan, a senior telecoms analyst at Enders Analysis, said it was “inevitable that [the UK government] would be really sensitive about telecoms, which is more critical than ever to our lives in general and particularly in today’s geopolitical environment”.

She said risks included cyber attacks, interception and networks being shut down.

Egan added that the imposed requirements could be a template for the proposed domestic merger of Vodafone and Three UK, owned by CK Hutchison, if there are any national security concerns related to the Hong Kong-based company.

Karen Egan, head of telecoms at Enders Analysis, said: “It demonstrates that there is a real sensitivity around the services that Vodafone provides and that influence from autocratic states is viewed with some caution. There will be some read across to both The Telegraph takeover case and the proposed Vodafone and Three merger. The mitigations that are suggested for the E& strategic agreement could well serve to address any sensitivities around CK Hutchison part-ownership of a merged Vodafone UKand Three”

Magazines are in the final phase of industrial-scale print volumes, with the era of artisan print magazines already highly visible and blooming, celebrating the reader’s tangible experience of the design and rich content, drawn by the brand’s authority.

Publishers’ online revenue models have diversified by attracting third-party sources—advertisers, campaign partners and affiliates—alongside a relatively tepid commitment to audience-led revenue models, with exceptions.

Publishers seeking a sustainable digital future by circa 2030 will need to focus more on audiences than on advertisers, leveraging core brands across multiple channels to build community, with print playing a narrower, lucrative and much-loved role.

Netflix had its second-biggest quarter ever for net subscriber additions—up 13.1 million to 260 million, behind only Q1 2020—with the streamer's 'paid sharing' initiative the key factor. Meanwhile, Netflix's expansive deal with WWE moves it definitively into the live streaming market, although perhaps not yet sports

The universality of Netflix's non-English content is overstated but it did mitigate the reduced volume of new US content due to the strikes. With a continuing bleak US production outlook, this is not a card most competitors hold

Netflix's ad business is making gradual progress, with the streamer's suite of games now a target for further monetisation

Enders described a “cost crisis” for many publishers due to two decades of “eroding real prices” for trade books. When seen in the context of an increasingly competitive market for people’s attention, with free or low-priced entertainment and information options, books are also limited by how much prices can go up.  

But prices need to rise, according to Enders. There is little slack in the cost structure of publishers as staff and author pay is already generally low, but it proposes price discrimination based on sales channel, format and special editions as a way forward. “This would enable publishers to get a better average price, while still leaving squeezed and price-sensitive readers with low-cost options,” Enders said.