“Any commentary on advertising by EA ultimately remains a reflection of its desire to be acquired by another major media and entertainment company, specifically by demonstrating its flexibility in generating revenue from a passionate fanbase,” said Gareth Sutcliffe, the head analyst covering the games industry for market research service Enders Analysis. “While any advertising option is unlikely to provide a material uptick in revenue, EA’s audience remains valuable and it assists in its positioning as a full-stack operation across all development platforms and nearly every conceivable revenue model.”

Karen Egan, of Enders Analysis, branded Ms Kirkby’s first moves “very confident”. She added that the proposals were “clearly designed to bring home the message that this expensive fibre spend is a temporary phenomenon only”.

Karen Egan, head of telecoms at Enders Analysis, said: “The improving outlook is an important part of the investment case for BT and the punchy cashflow guidance is clearly designed to bring that message home.”

Karen Egan, head of telecoms at Enders Analysis, said the decision to increase the dividend and clearly define cash flow expectations helped to “shore up confidence” in the cash flow recovery and “assuage the doubters”.

Taking it into cinemas is an "interesting" step, says Joseph Teasdale, an analyst at media research firm Enders Analysis.

"Podcasts continue to grow, in terms of popularity, and now we're seeing these new innovations - first you had the live streams, and now they're coming to cinemas too," he told BBC News.

Alice Enders, a media analyst, said this was unlike most owners of British newspapers, who are motivated by raw power and wealth: “Rupert Murdoch is in thrall to the religion of capitalism, and I would assume that to be true of others too.”

“He tried to buy his way into acting but then had to settle on bankrolling Paramount films – this has been up and down but that’s the film game,” explains Tom Harrington, analyst at Enders Analysis.

Baby Reindeer could well herald the start of a new era of performers mining their own trauma for dramatic content, maybe without the proper support they need to do so, in a bid to differentiate themselves from the volume of shows already out there. “The volume of true crime surely asks for that,” says Tom Harrington, Head of Television at Enders Analysis. “With the coming of the streamers, every crime that’s happened has a documentary now and it’s sort of like… I guess you have to stand out.”

“Broadcast news in the UK is very expensive to do,” says Gill Hind, head of TV at media analysts Enders Analysis. “Even if you have economies of scale and pool resources abroad as some outlets do, it’s really expensive to get content up and running.”

“Not surprisingly, if you’re an advertiser, a lot of the time you don’t want your company or product to appear in the news environment,” says Enders’ Hind. “And you can understand why you might night want your brand to appear immediately before or after something that happens in Ukraine, for example.

“This means that the income you get for the news programme if you’re ITV, or news channel if you’re Sky, is a lot less per viewer delivered than it would be for lighter, entertainment programmes.”

Niamh Burns, a senior analyst at Enders Analysis, argues that OpenAI and the FT share enough incentives to sign a deal, but publishers and tech companies bring different perspectives to the negotiating table.

“Publishers say using their content to train LLMs is against their terms of use and that licensing is essential. OpenAI says it doesn’t breach copyright, and frames deals as voluntary support of the journalism sector,” she says.

“Licensing is still a grey area, but these early deals are setting some precedents. The problem for publishers is we have no idea what AI products will look like in a year’s time. They might not even know what to ask for.”