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."

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."

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.”

Gill believes the £1.5bn target is bold, but added: “While it is notoriously difficult to make money out of kids programming, if the BBC happens to devise the next Peppa Pig, the return from merchandise could be huge."

She added “The BBC has a very strong brand globally, and if it could commercialise its audio output and/or news via a subscription service outside the UK there is potentially a large market. You could see people paying a few pounds a month to have access to Radio 4, for example, via BBC Sounds.”