This report tracks Netflix’s original content output, which declined in 2024: docuseries and stand-up comedy were the only genres that grew in volume
We provide an overview of what programming is working, by overlaying Netflix’s ‘mood tag’ and genre metadata onto global and UK viewing
We analyse Netflix’s approach to film and, in particular, the difference in output and success of more and less expensive features
On 3 June 2025, Enders Analysis co-hosted the annual Media and Telecoms 2025 & Beyond Conference with Deloitte, sponsored by Adobe, Barclays, Salesforce, Financial Times and SAS.
With over 700 attendees and more than 50 speakers from the TMT sector, including leading executives and industry experts, the conference focused on how new technologies, regulation, and infrastructure will impact the future of the industry.
This is the edited transcript of Session Two, covering: The Rt Hon Lisa Nandy MP; Meta’s AI strategy; Channel 4 on Gen Z and trust; news and media in the AI age; and diversity in the age of economic challenge. Videos of the presentations are available on the conference website.
On 3 June 2025, Enders Analysis co-hosted the annual Media and Telecoms 2025 & Beyond Conference with Deloitte, sponsored by Adobe, Barclays, Salesforce, Financial Times and SAS.
With over 700 attendees and more than 50 speakers from the TMT sector, including leading executives and industry experts, the conference focused on how new technologies, regulation, and infrastructure will impact the future of the industry.
This is the edited transcript of Session One, covering: Sky’s strategy; the BBC's strategy; audience behaviour; trends in commissions; and the businesses of Vivendi and the National Lottery. Videos of the presentations are available on the conference website.
This report is free to access
The UK’s creative industries are a £124 billion economic powerhouse, and a major net exporter bringing British content to global audiences.
Copyright protection is core to this success, enabling control over production, distribution and monetisation to sustain this thriving creative ecosystem.
AI poses unprecedented challenges through mass scraping of copyrighted content without authorisation or compensation, and creating substitution effects that threaten established business models—making the government’s copyright consultation a critical moment for balancing innovation with creator protection.
Industrial scale theft of video services, especially live sport, is in the ascendance. Combating piracy is a formidable challenge, providing a direct threat to profitability for broadcasters and streamers.
Big tech is both friend and foe in solving the piracy problem. Conflicting incentives harm consumer safety by providing easy discovery of illegal pirated services, and reduced friction through low-cost hardware such as the Amazon Firestick.
Over twenty years since launch, the DRM solutions provided by Google and Microsoft are in steep decline. A complete overhaul of the technology architecture, licensing, and support model is needed. Lack of engagement with content owners indicates this a low priority.
2024 was a stabilising year after a troubling 2023— Channel 4's revenue was up 1% and it ended the year with a much smaller deficit, although aided by a drop in both overall and original content spend.
Facing slightly uncertain conditions, the broadcaster continues to be over-exposed to the advertising market —91% of revenues—meaning its thoughtful move into production and acquisition is necessary and should be supported.
Channel 4’s presence in streaming continues to grow but struggles to mask the continued drop of 16-34 viewing share. Online success owed much to the increasing influence of foreign library content—this commanded increased spend in 2024.
The French league and DAZN have come to an agreement to end their media rights contract after one season, with the league now having had four main broadcast partners in five years.
DAZN claims the league failed to protect its ‘exclusivity’, resulting in high piracy. Ligue 1 blames poor execution.
Without a main broadcast partner for next season, Ligue 1 is exploring the idea of creating its own direct-to-consumer service.
Netflix beat its own Q1 revenue and profit forecasts but an uneven outlook means that its previous 2025 projections (12-14% revenue growth with a 29% margin) remain relevant. The end of reporting of subscription numbers and ARPU means that there is less visibility on the success of advertising and its regions
UK programming is now the most efficient original content on Netflix—with a tough outlook for production, this is validation of the quality of the product produced in this country
The call for a streaming levy was badly timed with little interrogation of any consequences. Further, it fails to directly address a major problem: the declining consumption of British programming
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.
Looking to 2030, we forecast that broadcaster viewing will continue to decline, driven by a drop in live viewing. Non-live is increasing but will be unable to make up for the total broadcaster shortfall.
Change is demarcated by age: while under-35s will watch more YouTube on the TV, with SVOD steady, the inverse will occur for over-35s.
The heavy-watching over-65s remain mostly insulated from change for now, however, those aged 35-54 are currently undergoing the biggest behavioural shift: beyond 2030 they will eventually carry their modern habits into their time-rich retirements.