Mobile growth improved very marginally to -3.6% this quarter as roaming revenues were harder hit and competitive intensity bounced back, but usage recovered from the lockdowns in Q2 and cuts to intra-EU calls were annualised.

Italy’s fortunes took a turn for the worse as roaming hit particularly hard and Iliad resurged. After a spate of downgrades to the outlook last quarter, there were some tentative upgrades in Q3 although the tone remains cautious.

The diminished drag from roaming is the primary positive driver from here. Although lockdowns of some degree are in place in Q4, their impact will be less severe than those in Q2.

 

Advertising demand has risen, with total ad revenue down just 7% in Q3, and Q4 expected to be slightly up—this means ITV will be down just over 10% across 2020.

COVID-19 has accelerated viewing shifts, along with corporate restructuring across the entire sector to try and keep up. ITV is no exception, although the creation of its new Media and Entertainment Division may be less revolutionary than it could appear.

Studios revenue was down 19% for nine months to September but 85% of paused productions are now completed or underway, with nothing major still stalled. However, the added costs of COVID-19 protocols are material and will linger.

In this report, we examine the completion rates of every scripted series since 2018 across all the major UK broadcast channels.

Comparing scripted programmes across different channels by overall viewing is difficult as these numbers are affected by promotion, prominence, competition, the quality of online player UIs and availability.

The rate that series are completed—viewing of the final episode as a proportion of the first episode—eliminates these and allows comparison.

Netflix’s usage and churn are “back to what they were a year ago”, while subscriber growth was down (+2.2 million globally) as the two levers—reduction in churn and the "pull-forward" effect of the pandemic—for its recent explosive growth softened

Although there will be some lag, content production is back to a near steady state. Since the shutdown eased Netflix has completed principal photography on 50+ productions and the company is optimistic that it will complete shooting on over 150 other productions by year end

The pandemic has handed Netflix residual benefits, including an acceleration of the changes in viewing behaviour and an improved position in terms of cash: it stated that its “need for external financing is diminishing [so] we don’t have plans to access the capital markets this year”

STV now has a clear pathway to reduce its reliance on linear advertising by investing in production, while pushing the transition to digital forward with a UK-wide footprint.

To that end, STV Player has some momentum and recent production company acquisitions, increasing external commissions and PSB Out of London quotas should ensure STV Studios returns to growth in 2021.

Such development is imperative: COVID-19 has accelerated structural change in viewing habits meaning now that content must not only be great, but available widely and immersed in a smooth user experience just to have a chance.

With a lack of live sport, the lockdown weighed on incumbent pay-TV platforms’ subscriptions. SVOD providers leveraged their cheap positioning—Netflix and Amazon Prime Video now rank above other subscription services in Europe, and Disney+ had a successful launch.

Incumbents—Sky, Canal+, Movistar+—all pursue a twin-track strategy. They are positioning themselves as gatekeepers thanks to service bundles, while redirecting resources away from sports towards original series.

European productions are increasingly garnering audiences outside of their home markets, regardless of the production language. Netflix is a major conduit for European exports, due to personalisation of the interface and high-quality dubbing.

Investors warmly welcomed WMG's IPO of non-voting shares in March, valuing the company at $12.8bn, a 388% increase in the company's valuation since Len Blavatnik acquired it in 2011

Investors are placing a bet on music streaming. WMG's strength in the US market due to R&B and Hip-hop in its catalogue allowed it to outperform UMG and Sony on recorded music over 2015-19, an advantage that will dissipate when growth shifts to emerging markets

COVID-19 impacts explains WMG’s 6% decline in recorded music revenues for calendar Q2 2020, despite an 8% rise in digital revenue, as revenues from physical sales (vinyl and CD) sank, and also those from artist services due to the halted 2020 live music season

Growth deteriorated by 3.5ppts, with the UK the weakest and Italy most robust thanks to its early onslaught of COVID-19, usage pickup in a largely pre-pay market and reprieve from a particularly competitive environment.

More operators (Orange and Telecom Italia) cut their guidance at the Q2 results and others (Deutsche Telekom and Iliad) sounded a note of caution regarding the likelihood of them reaching their full year targets.

The outlook for next quarter is mixed—roaming revenues will be even harder hit and competitive intensity is bouncing back but where usage has been depressed it will begin to recover well post-lockdown.

ITV’s ad revenues were down 43% in Q2 (and H1 down 21%), with the broadcaster noting that July was ‘only’ down 23% YoY, with August “markedly better” again

With most production stalled because of lockdown, Studios was down 23% in Q2 (17% in H1). Production is returning to scale (although hopes for quality scripted should be tentative) but there will be a payment and delivery lag that continues to hit future quarters for both sides of the business

Overhanging this improvement, however, are the structural viewing shifts that have been instigated by the pandemic—streaming services have experienced much greater uplifts and we foresee them grabbing a greater proportion of the viewing pie. Locally, modest BritBox is unlikely to help

In March 2019, the UK government consulted on a wider TV advertising ban until 9pm for food and drink high in fat, salt, and sugar (HFSS), to combat childhood obesity. The government may shortly publish the results more than one year later.

TV and TV advertising are not the cause of children being overweight or obese (O+O). Policy change in this area should inform and educate parents and young children, as they have in Leeds and Amsterdam.

With 64% of the UK population being O+O, obesity is a complex societal issue requiring a multifaceted approach. The evidence from existing rules, and plummeting TV viewing amongst children, says that further restrictions on TV advertising will be ineffective in curbing the rise of obesity in the UK.