The PSBs’ ability to fulfil their public service objectives is becoming compromised by declining TV audiences, mainly due to the rise of online platforms and the decline in funding levels.

Part of the solution lies in collaboration between the PSBs themselves, potentially through shared tech stacks across players.

Collaboration with third-party online platforms is also required. The Media Act is introducing prominence requirements for connected TVs, but extending this regulatory regime to video-sharing and AI platforms needs much more developed thought to clearly articulate its aims and begin to iron out its practical challenges.

Although original programming is now cutting through—a validation of expansion in output—licensed content remains the backbone of Prime Video’s offering, c.80% of all viewing since March 2024.

Viewership of UK originals fluctuates significantly with reliance on standout titles, whereas US content, including high-volume dramas, maintains a steady audience.

Football coverage has been a draw for viewers: the Premier League, now lost, brought in older, male audiences. After an underwhelming initial phase of the last Champions League, Prime Video’s top pick of fixtures proved beneficial in the knockout round.

Revenue growth in mature markets is now price-driven and therefore lumpier. While the US leans on bundling, European scale requires wholesale distribution with pay-TV incumbents. Fledgling streamer to streamer/PSB deals are more of a distribution nudge than a step towards the US model.

Profit momentum is real but fragile: H2 content/sports ramps will test margins; the Versant/Discovery Global carve-outs are about protecting multiples while ring-fencing legacy decline.

Engagement is the key battleground: live sport is increasingly important although streamers remain reticent on rights spending. While sport boosts acquisition and ad reach, ROI hinges on price discipline and shoulder programming. Europe remains a tougher nut to crack.
 

Disney’s streaming business continues to grow meaningfully, now outpacing the somewhat predictable decline of its linear operation. Studios is always a highwire act, but it is currently the source of most of Disney’s uncertainty.

With subscription numbers quite flat and engagement likely subdued, in the US Disney is hoping that product improvements and sport will invigorate the relationship that users have with its services.

In the UK, the Disney+ and ITVX content swap arrangement is off to a slow start.

Prime Video UK viewing has increased by 30% year-on-year. Although this growth is from a smaller base than its main rivals, it now matches Disney+ in total engagement.

Viewing behaviour now reflects a service that is more than just an add-on: those who use it alongside Netflix do so for its breadth, particularly in film, whilst non-Netflix viewers are drawn to its major UK hits and football coverage.

Supplementing consistent viewing to football and scripted box sets, its ability to attract mass audiences to its hit original shows now rivals some broadcasters.

With no major men’s football tournament, ITV’s advertising revenue fell well short of a tough YoY comparison (-7%, £824 million) while Studios appears to be settling after a demanding last couple of years (+3%, £893 million)

ITVX is showing encouraging momentum—especially in terms of its usage profile—however, as a whole, ITV saw viewing share again decline, while losing another 600k regular-viewing households

This market demands proactivity—hence the announcement of collaboration between the three major sale houses, and further measures by ITV to target small to medium-sized businesses

Netflix improved on its Q2 revenue and profit forecasts, driven by successful implementation of price rises and USD weakness. There continues to be little substantive information offered about the advertising business

Most of Netflix’s engagement growth is derived from its existing heavy users. Lighter users, who are more susceptible to churn, appear to be most under pressure from YouTube

In the UK, new Netflix original content no longer appears to be driving new subscriptions. This means it can be better used to shape engagement in a way that optimises monetisation

On 3 June 2025, Enders Analysis co-hosted the annual Media and Telecoms 2025 & Beyond Conference with Deloitte, sponsored by Adobe, Barclays, Salesforce, Financial Times and SAS.

With over 700 attendees and more than 50 speakers from the TMT sector, including leading executives and industry experts, the conference focused on how new technologies, regulation, and infrastructure will impact the future of the industry.

This is the edited transcript of Session Four, covering: the impact of AI on advertising; the future of advertising; and Ofcom’s approach to regulation.

On 3 June 2025, Enders Analysis co-hosted the annual Media and Telecoms 2025 & Beyond Conference with Deloitte, sponsored by Adobe, Barclays, Salesforce, Financial Times and SAS.

With over 700 attendees and more than 50 speakers from the TMT sector, including leading executives and industry experts, the conference focused on how new technologies, regulation, and infrastructure will impact the future of the industry.

This is the edited transcript of Session One, covering: Sky’s strategy; the BBC's strategy; audience behaviour; trends in commissions; and the businesses of Vivendi and the National Lottery. Videos of the presentations are available on the conference website.

ITV's total external revenue rose 4% year-on-year in Q1 (to £756 million), although a material drop in internal Studios sales (down by £41 million) meant a decline in total group revenue (-1% to £875 million). Ad revenue was down 2% and will face tough men's Euros comparisons for the next two quarters 

Even with continuing online growth, ITV's overall viewing continues to decline. However, ITVX usage is displaying favourable characteristics that could foretell greater resilience and volume

Further, although the levels of viewing on the ad-tiers of the major SVOD services is analogous to ITVX, the difference in how well that viewing is monetised is stark