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The Glasgow Climate Pact agreed at COP26 sets out national pledges to achieve net zero and contain global warming to 1.8°C above its pre-industrial levels— COP27 will buttress pledges, now at risk from the energy crisis, and advance some nations to 2030.

The TMT sector is a leader on net zero in the private sector. Companies that measure their end-to-end carbon footprint throughout their supply chain—as many do in the UK’s TMT sector—can target their GHG emissions.

The TMT sector underpins the UK’s vibrant digital economy that enables hybrid work-from-home (WFH), which reduces fossil fuel use thus heading off both the energy crisis and the climate crisis.

ITV is combining its three domestic digital services—ITV Hub, Hub+ and BritBox—into a single product, ITVX, which will have a free and paid tier and see the addition of FAST channels. It will launch in Q4

The Hub and BritBox UK have underwhelmed in their respective markets, hampered by the broadcaster favouring linear revenues and the competitiveness posed by the surfeit of free British content. ITV is looking to change this direction, with shifts in content windowing and some additional content spend

Total external revenues were up 24% YoY in 2021 (and up 4% on 2019) to £3,450 million, driven by the highest advertising revenue on record, however Studios has not yet returned to pre-COVID levels, with both revenues (£1,760 million) and margin (12%) still down on 2019 (£1,830 million and 15%, respectively)

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.

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.

ITV TV advertising was down 42% in April, better than expected—but there was no Q2 guidance. We believe ITV has outperformed the market, aided by large audiences, with 22 programmes with viewing above seven million, double the number over the same period in 2019.

The TV production stoppage hits ITV in two ways—leaving gaping holes in the schedule and cutting ITV Studios revenues. ITV Studios revenue was down 11% in Q1 (£342 million), with no guidance given for Q2 when the production shutdown will really come into effect and likely devastate previously expected revenues. ITV note that demand for library content is up, however, although much higher margin, this will only go a small way to offset lost production revenue.

The Love Island cancellation is a major blow, with the benefits that the format brings ITV—youthful, simultaneous, easily-monetisable, cross-platform engagement for six nights a week for over two months, akin to a major sports tournament that ITV owns—lost. But BritBox use and subscriptions are both up.

COVID-19 has led to an unprecedented decline in advertiser demand for TV, and while the steepest drop has occurred, broadcasters will feel the impact over a long period of time.

Programming costs are being cut or deferred, but it is not possible—or even sensible—to reduce total programming budgets significantly in the mid-term due to existing contractual commitments.

Increased government support in the form of advertising spend, a loosening of Channel 4's programming obligations—the lifeblood of the independent production sector—and revisions to existing measures (to capture a greater proportion of freelancers) will be required to ensure a flourishing, vibrant sector for the future.

Cross-device identity profiles are used to stitch together fragmenting online ad audiences, but also to enable new links between advertising and marketing, across European markets

This moves value from media itself to understanding each consumer and how they access content and services on proliferating connected devices

By 2020 we predict that 58% of all UK online ad buys by value will make use of high-quality audience IDs, led by the largest advertising platforms but limited by privacy regulation and cost

Enders Analysis co-hosted the annual Media & Telecoms 2017 & Beyond conference in conjunction with Deloitte, Moelis & Company, Linklaters and LionTree, in London on 2 March 2017.

This report contains the slides used by Tom Mockridge, Matthew Kirk, Andrew Griffith, and Geoff Moelis.

Enders Analysis co-hosted the annual Media & Telecoms 2017 & Beyond conference in conjunction with Deloitte, Moelis & Company, Linklaters and LionTree, in London on 2 March 2017.

The day saw over 450 senior attendees come together to listen to 30 leaders and senior executives of some of the most creative and innovative businesses in the media and telecoms sector, and was chaired by David Abraham.

This report provides edited transcripts of the presentations and panels, and you will find accompanying slides for some of the presentations here.

Videos of the presentations are available on the conference website.