BT has emphasised ‘convergence’ in its new Consumer strategy, but it has avoided most of the usual fixed-mobile convergence mistakes, with separate brands, minimal discounting and only slightly flawed converged products

The general strategy is to improve customer service to improve market share trends (particularly in broadband), enable premium products/positioning, and allow for cross-selling of a strong set of converged (in a broader sense) products, which is very sensible in our view

It does require extra spending in the short-term to improve customer service and the perception thereof (particularly in broadband) before premium positioning and cross-selling can be effective, therefore improved trends at the bottom line may take some time to come through

BT Group met expectations for the 2017/18 financial year, but future guidance is very modest compared to previous performance and financial market expectations, with 2018/19 revenue and EBITDA both guided to decline by around 2% with capex rising

In our view, this weakened outlook is primarily driven by the ongoing slowdown and increasing competitiveness of the UK broadband market, with operating metrics at BT Consumer particularly weak

BT’s re-vamped strategy looks good in parts, and could deliver the incremental improvements necessary to outperform the new (much more modest) expectations, helped by existing – and likely continued – strength in mobile

Our latest forecasts predict traditional broadcasters will account for 72% of all video viewing in 2027, down from an estimated 82% in 2017, reflecting the continuing adoption of online video services across all UK age groups.

Additional viewing of online short-form content such as YouTube will keep pushing overall volumes higher, with SVOD services serving more as a substitution for linear TV.

The extent will be greater among younger age groups, for whom the shift has already been significant. We predict that in 10 years just 42% of 16-34s’ total viewing will be to conventional broadcasters versus 91% for the over-55s.

The UK mobile market is growing strongly – we estimate revenues by 5% and EBITDA by 8% in 2017 – excluding one-off regulatory drags and the loss of non-profit-generating handset revenue

Regulatory price cuts end in mid-2018, and the handset effect will disappear from all reported figures from April 2018, leaving scope for very positive headline growth next year – considerably better than its European comparators and the sluggish UK fixed market

The outlook for the UK mobile industry is the best it has been in a decade, with significant growth in data demand, price increases, some supply constraints, rational competition, and major regulatory drags rapidly fading

The Competition and Markets Authority (CMA) halted the merger of the publishing assets of Trinity Mirror and Northern & Shell, and is inquiring into the merger’s likely impact on competition in the national newspaper market

The CMA will take into account efficiencies of £20 million in newsrooms, printing and advertising sales, which if realised could help sustain national news provision in a failing print market transitioning to digital services

Secretary of State (SoS) Matt Hancock has issued a Public Interest Intervention Notice (PIIN) citing newspaper public interest (PI) grounds, on concerns the TM/N&S merger may be contrary to the public interest

European mobile service revenue growth was unchanged this quarter at 0.3% growth, despite an easing of the European roaming cuts impact. This was due to intensified pricing competition in Italy and Spain, and EE’s unexpected poor performance in the UK. France and Germany were the only countries to improve their growth, but the improvement in France was largely due to a revenue-boosting VAT loophole

More-for-more price increases continued during the quarter, but their implementation is increasingly dependent on market conditions. Zero-rated streaming offers have continued to launch, but remain the exception rather than the rule.  Given the long implementation periods required for innovative new products at most operators, this may be temporary

Looking forward, overall the outlook looks finely balanced with boosts from the reduced MTR impact in Germany in Q1 2018, an easing in Spain’s retail pricing pressure and EU roaming impact annualising out by Q3 2018. This is countered by France closing its VAT loophole, steep MTR impact in Spain in Q1 2018 and continuing intense competition in Italy given Iliad’s impending launch

Linear TV's decline continued into 2018, with an overall drop of 3% across the first 12 weeks YOY. However, overall TV set usage remained flat at 4 hours/day, as time spent on unmatched activities—which includes Netflix, Amazon and YouTube—continues to rise.

Within the ever-shrinking pie of consolidated viewing to the TV set, share of viewing (SOV) to the ten largest channels remains broadly flat. Across the whole of 2017 and the start of 2018 the best performer has been ITV (main channel).

Several big-name digital channels are showing surprising signs of recent decline, including UKTV’s Drama and Viacom’s 5USA. It is too early to tell if these declines are a blip or a trend. However, they reflect stalling growth from the long tail of digital channels in aggregate. 

Enders Analysis co-hosted the annual Media & Telecoms 2018 & Beyond conference in conjunction with Deloitte, Barclays, Linklaters and Moelis & Company, in London on 8 March 2018.

This report contains the slides used by Ron Mobed, Mark Evans, Serpil Timuray, Marc Allera, Geoff Austin.

At the end of January 2018, the acquisition of Time Inc. by rivals Meredith Corporation closed for $2.8bn. Time Inc. had already been in the process of selling its UK arm, which completed on March 19 to private equity fund Epiris LLP for an estimated £130m

The Time Inc. UK portfolio is a reasonably diverse one, with the following categories: Entertainment, Fashion & Beauty, Home & Design, Sport & Fitness and Specialist

Within the consumer magazine sector as a whole, oversupply remains the core issue, and we expect to see further closures of weaker titles benefiting category-leading brands

To celebrate International Women's Day on 8 March 2018 in the centenary of the partial suffrage, Women at Work 2018 promotes the goals of professional women in the UK through:

Greater awareness by large employers thanks to new gender pay reporting requirements. The national mean gender pay gap of 14% confirms a gender imbalance inside most large employers. Only 30% of management positions are held by women, about the same as a decade ago (although the total number of such roles are shrinking). Leadership from the top has is crucial to address stereotypes behind the 'motherhood penalty', 'glass ceiling' and 'glass walls'

Increasing the share of women in top jobs. The voluntary initiative to make business more effective by more FTSE 100 companies appointing women to their boards is aiming for 1 of 3 roles by 2020, up from 28% in 2017. Women, however, hold only 10% of FTSE 100 Executive Director roles, casting a spotlight on the scarcity of female leaders in waiting in the 'executive pipeline'

Boosting female engagement with entrepreneurship, a booming UK trend, and leveraging the power of digital. With just 1 in 5 small businesses being female-led, women often cite networks, role models, and mentors as important enablers

Nicola Mendelsohn, VP of EMEA, Facebook, comments: "We live in a society where the system is often tilted in the opposite direction to women – the digital world has created a level playing field that removes the barriers and eliminates the bias. Every week I meet with women who are starting their businesses through digital channels or inspiring others to do the same as them. This is an important report that charts the success to date and the important progress that is still needed."

The creative industries too will gain from engaging with initiatives to remove barriers to equality of opportunity and realise the talent of women at work. Internal transformation is particularly relevant in 2018 when society-wide soul-searching promises to transform cultural products by further shattering tired tropes.