James Barford, director of telecoms at Enders Analysis, says convincing investors of the company’s fibre broadband strategy is Kirkby’s greatest success. “Rolling out full fibre into 30 million homes is a huge undertaking.

“Under previous management they suspended the dividend [in 2020], the first time since privatisation in 1984, in order to pay for it, saying that when they finished the rollout it would increase free cashflow to £3 billion a year by the end of the decade.”

Barford says that Kirkby, BT’s first female chief executive, has convinced investors that the fibre rollout (which has been much slower than in other European countries) will happen and will make money in the long run.

“The reason the share price is up is because she is getting everything right, giving clear forward guidance and, importantly, sticking to BT’s core purpose. There is still a long way to go but it appears the full success is not priced in.”

Its operating profit fell to £646 million, from £898 million in 2023. Global is understood to be a laggard within the Business division, frustrating Kirkby. Karen Egan at Enders Analysis said: 'The problem is Global sells a lot of legacy services that simply are not that profitable.'

Gareth Sutcliffe, head of video games at the research firm Enders Analysis, said a lack of investment in the sector was “having a negative impact, particularly on indies and mid-tier studios, and that’s where you’re seeing this real pain point”.

A report from Enders Analysis has argued that generative artificial intelligence “will not alter the fundamental commercial reality for the news” as the shift online did previously.

The research firm cautioned publishers to be “realistic” about the productivity and revenue gains possible from AI, but added that ignoring AI would be “a mistake”.

The report found there have been some valuable uses for AI in the newsroom — but argued that there may not be an “immediate, killer news use case to raise revenues”.

AI can also help to create “more sophisticated metadata for archival material”, they wrote, in turn making it easier for journalists and readers to access a publisher’s back catalogue. This could have revenue implications for local publishers in particular, they said, “where some historical material has barely been digitised”.

A $1.1 billion rights acquisition fund establishes Grup Mediapro once more as a player on the sports brokering scene, though not on the scale of European leader Sky, which invested $3.2 billion in 2024/25 nor even Canal+, whose 2024/25 outlay is $628 million, according to Enders Analysis

“Increased regulatory pressure could be behind this new publisher push,” said Niamh Burns, senior research analyst in tech and media at Enders Analysis. “From TikTok’s perspective, it helps to have fact-checked, informative news publisher content on TikTok to counter any narrative around disinformation or platform bias.”

But as she pointed out, publishers don’t make money on TikTok, at least not yet. “Until this improves it’ll remain an arms-length relationship for a lot of publishers,” Burns added. “TikTok isn’t a referral channel, and publishers need to balance getting their brand in front of young people with the risk of getting lost in the content mix.”

This was mainly driven by rising interest costs, which account for more than 100pc of alt-nets’ turnover on average, according to figures from Enders Analysis.

Enders said the tie-up could help CityFibre win market share from BT and Virgin Media O2 but warned there were limited wholesale prospects for smaller alt-nets.

The amount of money raised so far this year is barely enough to cover losses and interest charges – let alone to fund continued network expansion, Enders said.

“There is the question about how much publishers are using these tools themselves,” said Niamh Burns, senior research analyst at Enders Analysis. “I think the amount of deployment is low, there is a lot of experimenting out there, but I could see a world where publishers will use some of these tools a lot. However, publishers must be realistic about the scale of efficiencies and revenue generation opportunities.”

Burns said that so far the willingness of publishers to use AI tools that directly impact or create editorial content related to how commercially pressured the media environment was for that operator.

“I do think that those media companies that are most commercially at risk in the near term are also at risk of overdoing it,” said Burns.

“A lot of that is to do with commercial models. If you rely on advertising from lots of traffic on social platforms and all you need is scale, not necessarily quality, then AI could be seen to really help.

“Their track record of creating programming that cuts through has been underwhelming. They have spent a lot of money and made a lot of shows that haven’t really entered the public consciousness,” says Tom Harrington, head of TV at the Enders Analysis consultancy. “And they have a big subscriber base, a lot of people who have access to it, but you can count on one hand the shows which have really cut through.”

“No one knows what Max is, no one really understands the HBO brand,” says Harrington. “They kind of like the shows when they’re on Sky, but they’re not enormous shows outside Game of Thrones or House of the Dragon.”

Tom Harrington, head of television at Enders Analysis, says there would be “obvious advantages” for consumers.

“If you add all the tech spend of the PSBs together, it’s still insignificant compared with Netflix or Amazon, who set the perception of what a streaming service should be,” he says.

“Divided up and doing their own thing it’s going to be even worse, so combined they could pull together something half-decent that would work.”