Public service broadcasters are in a position to plan for the long term with commercial licences renewed for ten years, an updated prominence regime via the Media Bill and a government broadly supportive of the BBC.

With the Premier League and EFL rights secure to the end of the decade, Sky can plan for the future from a position of strength.

Relationships between Sky and the PSBs have improved markedly recently, and as all can now plan for the long-term, this should provide further opportunities to cement relationships for the benefit of the broadcasting ecosystem and viewers.

Netflix had its second-biggest quarter ever for net subscriber additions—up 13.1 million to 260 million, behind only Q1 2020—with the streamer's 'paid sharing' initiative the key factor. Meanwhile, Netflix's expansive deal with WWE moves it definitively into the live streaming market, although perhaps not yet sports

The universality of Netflix's non-English content is overstated but it did mitigate the reduced volume of new US content due to the strikes. With a continuing bleak US production outlook, this is not a card most competitors hold

Netflix's ad business is making gradual progress, with the streamer's suite of games now a target for further monetisation

Dramas from the public service broadcasters based on books consistently bring in bigger audiences than those that are not, a trend driven by certain genres, especially detective mysteries and thrillers.

A greater volume of newer book IP is being developed into programming, but this preference is not necessarily reflected in audience figures.                                 

Younger demographics are less enamoured with dramas based on books than older viewers. There are however notable exceptions, while attracting younger audiences may have more to do with the age, genre, and fame of the IP.

The UK’s ‘zombie’ economy—largely flat since March 2022—is due to the cost-of-living crisis weighing on households, with this exacerbated in 2023 by the rising cost of credit. Real private expenditure growth will be weakly positive in 2024 before strengthening in 2025 as headwinds recede

Our 2023 forecast of a nominal rise but real decline in display advertising was realised, with TV’s revenues falling while digital display rose. Advertiser spend online is justified by the channel’s size and growth, worth an estimated £406 billion in 2023

For 2024, much lower inflation and mildly positive real private expenditure growth points to 3-4% display advertising growth, with a stronger recovery anticipated in 2025

CEO Bob Iger has announced that Disney is now in a "building" phase—indicating that the strategic turnaround is complete—however, upcoming breakeven of  streaming products owes much to cuts on programming spend

With the rest of Hulu soon to be acquired, Disney looks as if it is pulling out of India—this will make the company's presence outside of the US even more peripheral

In the UK, Disney+'s advertising-supported tier is now live, however, there are forces at play that limit Disney's ability to execute its tiering strategy as effectively as its biggest streaming competitor

ITV Studios (+9%, £1.52 billion) continues to prop up the company's advertising business (-7%, £1.23 billion)—which faces macro headwinds—helping external revenues for the first nine months of 2023 slightly upwards to £2.53 billion

Q4 is shaping up as a particularly difficult period for advertising with the lead up to Christmas potentially down by 15% YoY

ITVX continues to show growth; given that this is mostly a result of cannibalising ITV's linear audience, there is a ceiling on its potential

Unable to match Netflix, financially-pressed Hollywood studios are cutting content output and reassessing the DTC model

Price rises are being forced through, however for challengers this is asking a lot from subs, who don’t see an improvement in product or usage

The corporate landscape is fluid—loss-making DTC platforms and revenue-plunging linear channels are candidates for M&A

ITV’s external revenues saw only a small decline in H1 (-2%), a product of the Studios business’ solid growth (+8%, £1.0 billion) offsetting a very tough period for television advertising, which saw an 11% YoY decline.

Despite the appearance of a contracting market, ITV remains very confident in the continued organic growth of Studios, while the ad market looks to be improving although the full year will be down.

ITVX is growing both in total viewing and the length of viewing session, an outcome of improving the experience and content offering. However, broadcast viewing of ITVX exclusives is lower than might be expected, indicating that cannibalised linear viewing is more of a driver of ITVX growth than ITV seems to suggest.

The three planks of Netflix's strategy to stoke growth are beginning to pick up pace: pricing optimisation, charging of non-paying users and advertising are returning benefits, if at different rates. For Q2, Netflix announced growth of 5.9 million subscribers (+8% YoY) with revenues growing but at a slower rate ($1.83 billion, +2.7% YoY)

Netflix's advertising tier remains predictably peripheral. However the restructuring of its product offering and an influx of potential new subscribers who find themselves kicked out of other accounts could result in the company beginning to present to advertisers what they really want: viewers that they cannot reach easily elsewhere, if not yet at scale

The published draft Media Bill does not appear to present major issues for Netflix from a compliance standpoint, however, a clearer understanding of what "appropriate prominence" for the PSBs means is needed to calculate the impact on the streamer's access to viewers

Channel 4 was resilient in 2022: highlighted by a 2% YoY drop in total revenues after a record 2021, a quickly growing digital business and a new high for content spend

With privatisation now off the table, in its draft form the Media Bill presents new opportunities and challenges: an “appropriate degree of prominence” on smart TVs and devices, the option to produce content for the first time, and a “sustainability duty”

The effect that these might have is murky without a body of interpretation and mediation, and indeed execution—it appears uncertain whether Channel 4 would begin to produce, with the optics concerning indie producers tricky and accumulation of the required operational skills a long process