Growth in European content supply may soon reach a tipping point as streamers shift from market grabs to profitability, while resources poured into production from states, consumers and advertisers are declining

The perceived value of long-form video content is dropping as consumers pay smaller amounts for a greater volume of choice, from which they are watching less

However, factors converge to prop up the European independent model: broadcasters’ resilient financing, the public favouring ‘deep’ local fare, talent’s preference for independents, market consolidation and new EU regulation

Advertising income has been the lifeblood of commercial TV for decades, but declining linear audiences—combined with digital video alternatives—mean the TV advertising model must evolve to ensure it remains as potent a medium for brands as ever.

Lack of effective audience measurement and somewhat opaque advertiser/agency/sales house relationships are hampering linear TV advertising revenues. Both issues need resolving to underpin a healthier ecosystem overall.

Flexibility is key to this evolution. A move to audience buys across most linear and BVOD inventory would provide greater flexibility and targeting for advertisers, and would sit alongside some premium context buys. A greater onus on volume deals would give broadcasters more certainty to invest in content and their advertising propositions.

Spotify paid $5 billion in royalties last year to the music industry. Critics claim the $0.0038 per-stream average royalty rate is too low. However, this is largely due to high volumes of ad-funded listening, a core part of Spotify’s freemium model, and a defence against piracy. 

To silence the critics, the “Spotify Loud & Clear” site presents data on the distribution of industry royalties, which are heavily skewed to established artists. Only the top 5% of artists generate annual industry royalties above $1,000, though they take home less under their deals. 

The remaining 95% of artists on Spotify generate under $1,000 a year and use the platform mainly to reach fans that attend live gigs, their primary source of income, now halted by the virus. These artists’ problem is digital discovery, as Spotify’s playlists push hits rather than the midlist. 

Despite relying on a narrow IP base, US content production is booming, overwhelming other markets and seeking alternative distribution to cinema.

Responding to the rise of Netflix and Amazon Prime, studios seek to shift distribution from wholesale to retail—but only Disney may succeed.

Most content is likely to remain accessed by consumers through bundles. Provided they engage with aggregation, European broadcasters can adjust to the new studio model.

The prospect of a merger between Scottish Media Group (SMG) and UTV (formerly Ulster Television) provides exactly the positive news the commercial radio sector needs at this time. The merger would bring together two national stations, Virgin Radio and TalkSport, under the same ownership, creating opportunities to increase these stations’ audiences, grow their revenue yields, and improve profitability whilst, at the same time, reducing operational costs by combining their management and sales functions.

Spain’s top football club FC Barcelona (Barça) has threatened to withdraw its broadcast licence from Sogecable unless it matches an offer from Mediapro that is almost double the current annual fee for the two football seasons commencing 2006/2007 

The present TV advertising slump appears due to a uniquely British combination of very rapid digital TV growth and singular advertising airtime regulations that include the Contract Rights Renewal (CRR) remedy 

Sogecable FY 2005 results recorded the first net profit (€7.7 million) since 2001, two and a half years after the merger with Vía Digital. With the after effects and restructuring costs of this merger behind it, the question we examine in this note is what growth can Sogecable's pay-TV business look forward to and what extra contribution will be made by the national free-to-air (FTA) analogue channel Cuatro, which launched on 7th November 2005?

Under rules agreed with the EC no one party could win all six packages. The surprise is that BSkyB has only won four, the other two going to Setanta. Although BSkyB has won the four ‘best-looking’ packages, it must pay an extra £97 million per annum for two thirds as many games