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

Employment reached an all time high in 2019 of 32.8 million people at work despite slower GDP growth in 2017-19. The tighter labour market has helped real wage growth. A two-tier jobs market has emerged, with high-grade skilled roles evolving in a wide range of service sectors, and a large pool of low-grade, part-time work  

The heterogeneous labour market has ensured that in recruitment classifieds, unlike property and auto, no digital player has achieved absolute dominance. In the layer devoted to the recruitment of professionals, served by LinkedIn, rising demand for more specialised roles has expanded the number of agencies, intensive users of digital tools to locate recruits and crack the problem of "approachability" of those already in the job  

Online job portals are rushing to improve their AI and programmatic capabilities as specialisation prompts a shift from keyword search to smart matching, leading to a boom in recruitment tech M&A. Traditional agencies such as Hays are upgrading their own data capabilities through acquisitions and partnerships with LinkedIn, Google, Salesforce and other data/tech providers 
 

Nearly a year after rolling out Google TV in the US, Google has confirmed plans to launch its ‘smart TV’ operating platform in Europe and the UK by early 2012

To date, Google TV in the US has been a disappointment, with little broadcaster support and, until recently, expensive devices, resulting in low adoption

The content issue is likely to dog Google TV, both here and in other European markets; access to key broadcaster TV and video programming will be a major challenge

Advancing its free-to-air TV project, France’s Canal+ is to buy Bolloré TV’s national channels for €465 million to gain (scarce) licences for FTA terrestrial broadcast

Canal+ plans to leverage its library of original programming to attract upscale audiences, neglected by commercial rivals

However, the Vivendi investment case of a 9% return on capital is built on incompatible assumptions about profit margins and market share – to grow the latter in a mature market, a channel needs to sacrifice the former

This report provides our annual assessment and forecasts for recorded music sales and music publishing revenues, which engage all four of the ‘majors’ – Universal Music Group (UMG), EMI, Sony and Warner Music Group (WMG). In the context of the ongoing physical-to-digital transition of music consumption, retailing and buying, documented in the report, we estimate a 10% decline in recorded music sales to $18.4 billion in 2010, the sixth consecutive year of decline. We also project further overall declines in our forecast period to 2015. The recorded music sales decline has fed into music publisher revenues via mechanicals, and will continue to do so. In addition, the recession of 2008-09 continues to feed through to music publisher revenues via the lagged distribution of royalties. Thus, for 2010, we estimate that the global total fell by 3.1% in 2010 to $5.6 billion, and project an overall return to modest growth in 2012. Together, our analysis of recorded music and music publishing provides an industry-level context to evaluate the likely development of the majors themselves, bearing in mind that shifts in market share and currency movements will continue to differentiate their relative performances.

We have revised our central case forecasts of total year-on-year NAR (Net Advertising Revenue) growth in 2011 from 5% to 1%, as the advertising outlook has progressively worsened since mid April

2011 is marked by a further round of consolidation in airtime sales and a number of noteworthy channel and programming changes

Channel 4 Sales, and above all its flagship Channel 4, appears the most challenged of the leading market players, while we expect the ITV group to continue to outperform the NAR market in the rest of 2011 and 2012

Canal+ France has issued a prospectus in view of the April flotation of Lagardère’s 20% stake, which could still reach an agreement to sell with majority owner Vivendi

The prospectus provides a unique insight on the performance of Canal+, which has increased ARPU and profitability in the past three years, despite erosion of its subscriber base due to competitive pressures and the recession

Management’s revenue and profit targets for 2013 appear within reach, and we also see potential upsides

Q1 2011 TV NAR (Net Advertising Revenue) has delivered strong year-on-year growth of about 8%, yet the monthly variations are large, with a predictably sharp decrease in March based on past year comparatives countered by a large Christmas-style upswing in the Easter and Royal Wedding month of April

After several years of decoupling total display and TV advertising trends from those in the broader economy due to negative structural causes, the underlying positive correlations are expected to reappear as the structural factors subdue

The general economic outlook suggests stable growth in TV NAR during 2011 of about 5%, remaining flat to marginally positive in real terms beyond 2011 as long as conditions of weak economic growth last, but with significant risks of a sudden sharp downturn in the short to medium term