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

The temporary cool-off in hype around VR following a very buzzy 2016 is not reducing the flow of investment and talent into the industry, notably in video production utilising 360Video technology; setting the stage for the development of a truly new entertainment medium

Fully immersive interactive worlds will continue to be the mainstay of the video games industry, while video entertainment will exist in a multi-track environment, with some genres (news, documentaries , natural history) making 360Video mainstream well before long-form narrative-driven entertainment

2017 will still be a challenging year for consumer device VR roll-out and mass market adoption; Oculus, Google, and Sony continue to seed the market, providing large scale funding and equipment directly to developers and content producers

Snap is going public: its filing shows widening losses and slowing user growth, calling into question its ability to reach profitability and justify the ~$20 billion valuation it is seeking

Long term, the company hopes to capture the large brand advertising budgets it expects will leave TV as linear viewing declines. But how it plans to do so is unclear, as it has shown little interest in connected TVs, and the ad model for augmented reality – Snap’s focus – is a long way off

Most of all, investors are being asked to trust in the ability of Snap’s founders – who will retain full control of the company – to continually innovate products which will attract users and advertisers

Fashion underpins the growth of ecommerce; online took a 14% share of all fashion retail in the UK last year and is set to rise further, challenging the economics of physical retail 

Mobile is a key driver, it is changing research and shopping habits, and in turn affecting supplier product cycles, merchandising and marketing strategies 

Social media has disrupted the traditional shopping funnel, changing how trends and styles proliferate and shifting the sites of authority and influence in a £66 billion sector

Amazon’s marketing services bring in a growing stream of direct, high-margin revenue, but their main role is still in supporting vendor partnerships

Amazon uses customer profile data to profit from its own media and that of others, illustrating the value of a direct customer relationship in online advertising

In the future, Amazon’s moves into video content and voice interfaces are likely to significantly expand ad inventory, but maintaining the trust of shoppers is not straightforward

As smartphone ownership nears saturation in almost all consumer groups, the base for the UK digital economy is widening: media consumption continues to move to connected devices and use of consumer services on mobile grows

Ecommerce is now responsible for 75% of retail growth, steady even during periods of decline for the overall market

Google and Facebook take up almost 90% of gross online advertising growth this year, and the ecommerce and mobile service markets show early signs of platform concentration

UK digital advertising has enjoyed strong growth in 2016, with forecast growth of 12.7% for the full year, just scraping under the £10 billion milestone

However, this growth is highly uneven, being led by mobile display and mobile search, while desktop spend looks set to decline by over 5% year-on-year. More significantly, 90% of the growth is accruing to the two big players: Facebook and Google

Cross-device campaigns, the convergence of marketing and advertising functions, and new consumption trends all threaten our traditional categorisations of online ad spend

Snap’s IPO is reportedly pressing ahead as expected, suggesting a remarkably early maturity for the company’s advertising business model

Snapchat creatively adapts the tried and true TV advertising formula, focusing on content, context and audience affinity – this goes against the grain of digital advertising and could unlock new brand budgets for online

After an IPO, Snap’s founders would have the freedom to expand their platform with new content, distribution channels and even devices

US entertainment groups have not been disrupted by the rise of digital media. Long running franchises drive growth across diverse sectors, starting with pay-TV and SVOD. US television advertising is rising in line with GDP, while the online video ad market is flourishing, with much appearing alongside the majors' scripted content

Studios' cable channels are their most profitable assets, but M&As with distribution platforms, including Comcast's aquisition of NBC Universal, have usually failed to deliver synergies

The Donald Trump presidency could leverage hostile public opinion towards mergers to undermine the AT&T bid for Time Warner; but it could also stimulate M&As if it granted tech companies a tax break to repatriate profits. A more protectionist administration could also bring about a less benevolent attitude towards majors' foreign operations

Digital consumption has generated a lot of data in marketing and media and a huge variety of new opportunities for marketeers—but insights and intelligence are not growing as much as data points, as a culture of short termism prevails

We recommend the linking of audience measurement and consumer behaviour data, but the industry lacks both standards and trust, while the still-immature digital marketing supply chain poses problems for data integrity

The new data economy has also precipitated a new war for talent, with marketing, media and publishing competing with technology, finance and other industries to attract the best quant and science brains to transition the creative sectors.