UEFA and Relevent, a newly appointed media rights sales partner, are already surveying the rights market for the next cycle starting in 2027.
With minimal competitive tension in major European markets, incumbent broadcasters are unlikely to increase their bids.
Relevent will, however, try to leverage increased US appetite for soccer to lure a streamer into a global deal.
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Trump II is already proving to be a more serious threat to an independent, robust news media than Trump I.
Trump’s direct power around news media is limited, but the threat comes from an unprecedented politicisation of federal regulators, enforcement and procurement—to favour friends and punish enemies.
Opposition to Trump II is weaker and more divided than the broad ‘resistance’ to Trump I. Big tech companies are going for a close embrace, hoping to steer policy to their advantage—while others bend the knee to avoid punishment.
Globally, subscriber growth remains the driver of topline streaming improvements—86% of Netflix’s 2024 global revenue growth came from subscriber additions, with 85% for WBD and 54% for Disney
However, in mature markets growth is underpinned by ARPU. Subs growth is becoming volatile with more customers churning in and out of services around key releases
Relevantly, the race to scale up SVOD ad-tiers will continue to have an ARPU-dilutive effect: CPMs are lower than expected and the growing price divide between premium and ad tiers will persuade more existing users to spin down
Disney's phase of consolidation began with profit growth for its streaming business, pushed up by price rises with subscriber numbers reasonably flat. Emboldened by less churn than expected, Disney+ will be more expensive sooner rather than later
Disney+'s UK reach—a proxy for subscriptions—remains firm but under pressure with engagement materially suffering as the flow of new programming has slowed. Library content is D+'s strength, but viewing of it is correlated with new releases
The creation of sports channel bundle Venu ran the risk of accelerating the decline of Disney's linear business. The service's delay and failure to launch may have given time for the company to reappraise its approach to linear
Broadcaster reach and viewing fell in 2024, but the decline slowed as BVOD growth increasingly makes up for linear decline and the BBC’s viewing grew year-on-year.
SVOD penetration and engagement returned to (slight) growth in 2024 and video-sharing platforms are increasing their share of TV set viewing.
Broadcasters still offer a wider array of programming than SVODs, but they are expanding their offering, as is YouTube.
Global streamers have expanded their US premium sports coverage, but this will be difficult to replicate in Europe.
The main obstacle is much lower advertising revenues in European sport.
The concentration of European football rights and small pools of buyers mean that premium sports must be retailed on an opt-in basis.
Use of publisher content to train AI models is hotly contested. Unacknowledged scraping, licensing deals, and lawsuits all characterise the publisher-AI company relationship.
However, model training is not the whole story. More and more products rely on up-to-date access to content, and some are direct competitors to publisher offerings.
Publishers can’t depend on copyright to deliver them the value of their IP. They need to track which products are catching on with users for licensing deals to make sense for them, and to ensure their own products keep up with the competition.
Broadcasters have made considerable progress in becoming platform agnostic over the past three years, delivering innovative ad propositions offering greater targeting, flexibility and measurement.
They would welcome the opportunity to work with advertisers to explain the complexity involved in delivering linear and digital campaigns.
Broadcasters believe that although TV advertising is transitioning to digital, legacy share deals and reliance on pricing relative to ITV1’s station average price (SAP) continue to hold the market back. Potential amendments to CRR may allow for a smoother digital transition, benefitting the entire ecosystem.
Disney believes it has turned a corner, laying out positive forecasts for the next two years, featuring annual, double-digit EPS growth. Streaming is now reliably profitable, although its low and generally inert ARPU will inevitably have to be stoked by more price rises
In the UK, Disney+ continues to trail Netflix in a number of core metrics—reach, engagement and habituality—but Rivals signals the potential of a positive trajectory
Similarly, although Disney's relatively patchy theatrical release schedule has had an effect on Disney+, a strong next six months should flow through to service growth
UK news publishers are experimenting with generative AI to realise newsroom efficiencies. Different businesses see a different balance of risk and reward: some eager locals are already using it for newsgathering and content creation, while quality nationals hold back from reader-facing uses.
Publishers must protect the integrity of their content. Beyond hallucinations, overuse of generative AI carries the longer-term commercial and reputational risk of losing what makes a news product distinctive.
Far less certain is the role of generative AI in delivering the holy grail of higher revenues. New product offerings could be more of an opportunity for businesses that rely on subscribers than those that are ad-supported.