As more viewing is delivered on-demand and online, the jeopardy and immediacy of sport make it one of the few genres which will remain overwhelmingly live.

Shared national experiences that allow as wide an audience as possible to follow simultaneously are increasingly rare in a fragmented media landscape, and public service broadcasters are still the only media capable of providing them.

The listed events regime should not just be protected but at least extended to include live digital rights: although the vast majority can presently access these events via DTT, changing viewing habits, eventual DTT switch-off and a shift in how rights are packaged means that action should be taken now to guarantee continual full, free availability.

By firing Bob Chapek, the board responded decisively to a stream of negative press coverage and unexpected weak results.

Iger's priority should be unwinding Chapek’s revenue and distribution structure that separated creatives from investment control.

What will be the next transformational deal for Iger-led Disney? Strategic gaps include a youth audience pivoted towards social media and games

ITV’s total advertising revenue (TAR) across the first nine months was down 2% year-on-year, £25 million less than the company had expected at the end of July. This was still up on pre-COVID levels. With a strong Q4, TAR is expected to be down 1.5% across the year, while high inflation of costs and greater reliance on Studios will ultimately challenge margins

ITVX will be fully launched on the—slightly delayed—date of 8 December 2022. We are confident that it will be a step change for ITV's online engagement, however we believe that ITV may be understating its potential cannibalisation of linear

ITV Studios appears to be beating the market, and there may never be a more opportune time for its mooted partial sale: across the industry inflation will make margins difficult to grow while overall content demand is plateauing at best 

Disney’s core competitive advantages reside in its IP stock and in consumers’ lifelong affection for its brands, but the company faces a growing challenge from much larger tech platforms, pushing up the costs of production, sports rights and access to future IP.

Disney’s resources for content expenditure are now flat. The fat profit contribution from US linear channels may soon start to decline whereas direct-to-consumer losses at Disney+, Hulu and ESPN+ are still increasing, and the recovery of parks could be capped by the worsening economy.

With its recognisable IP, Disney will benefit if global video viewing continues to coalesce around fewer, bigger series, although a weak future cinema market— which Disney dominates and leverages—will impair the creation of big, new IP properties. China and India’s potential may not materialise soon.

60% of Chinese online ad spend is directly driven by ecommerce, compared to 40% in the West. The gap will close as content and ads move closer to transactions.

General search engines are not central to the customer journey in China: Baidu fell below 10% of online advertising last year, compared to Google’s c.55% share in the UK.

The Chinese model now has a vector to the rest of the world in the form of TikTok, whose parent company ByteDance added more retail GMV in China than Alibaba last year. TikTok wants to grow video shopping in the West, targeting a huge $470 billion in transactions by 2027.

With viewing to traditional broadcast TV continuing to shrink rapidly, especially among under-45s, our latest forecasts revise a new low for broadcasters’ audiences: falling to just half of all video viewing in 2027, down from 63% today

Long-form, broadcast-quality content will increasingly be viewed on SVOD-first services (e.g. Netflix, Amazon, Disney+) as online habits solidify, especially among older audiences. Platforms offering different content (e.g. YouTube, Twitch, TikTok) will continue to grow their share and will also expand total watch-time

We forecast that under-35s will spend just a tenth to a fifth of their video time with broadcasters’ traditional long-form content five years from now, versus a third to a half for 35-54s and 85% for over-65s

With major studios arguably over-indexed on SVOD, the stickier experiences of interactive entertainment and the metaverse will eventually form a critical pillar of studio D2C strategy, boosting subscription services and tying in closely with consumer products and theme parks.

Disney’s appointment of a Chief Metaverse Officer is good first step, demonstrating a strategic interest in the space. But other major studios remain cautious and distracted, with limited capability beyond licensing to engage in the metaverse for the next 24 months and possibly longer.

Meta will need to provide a strong guiding hand creatively and technically to ensure its new partnership with NBCUniversal is a success, and to evangelise the metaverse and its revenue model across the Hollywood studio content space.

The pandemic years boosted many businesses selling services on subscription in the UK: work-from-home gave people more time and money to widen the services they enjoyed in the home, such as gaming, entertainment and music, also boosting engagement with trusted news

The cost-of-living crisis dented the number of subscribers to OTT SVOD and news services in Q2 2022. Broadband and mobile are must-have; bundles of services (e.g. Sky’s pay-TV and broadband or mobile) are more resilient; yearly and multi-year contracts prevent churn relative to monthly contracts; and services that cater to passions (e.g. football) are always need-to-have

Subscription (or supporter) media and news services reaped the demand for trusted news through the pandemic, but now face a tough challenge to their toplines from the economic downturn—and also to transition to a sustainable business model for media audiences, while advertisers are also feeling the heat

• ITV’s H1 external revenues were up 8% YoY (to £1,679 million) with Studios up 16% (to £927 million) and Media & Entertainment up 4% (to £1,065 million)—ITV suggests that FY 2022 will beat 2019 for revenues. H2 will face some tough 2021 comparators but Q4 will reap the rewards of a winter FIFA World Cup
• ITVX is to launch in Q4, with the narrative being that it will target commercially desirable lighter ITV viewers, while causing little cannibalisation of the more monetisable linear platform—enticing these viewers seems difficult, especially given that the ITVX interface will be unashamedly average
• ITV remains “mindful” of macroeconomic and geopolitical uncertainty, but Carolyn McCall stated that the company has not seen anything that indicates an impact on advertising

With the publication of the Media Bill (expected to include details of the sale of Channel 4) seemingly delayed to at least after the recess (September), privatisation appears to now be on ice.

2021 was another demonstration of Channel 4’s resilience—showing record-breaking revenues, high content spend and encouraging rates of digital transition—setting a credible platform upon which the broadcaster's PSB credentials can be placed.

Some queries remain: Channel 4’s main viewing drivers are ageing, with fewer new shows being commissioned to replace them. Online engagement isn’t a substitute  for declining linear viewing, while digital advertising growth may get harder with more players, such as ITV and the streamers, entering the space in earnest.