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Enders Analysis provides a subscription research service covering the media, entertainment, mobile and fixed telecommunications industries in Europe, with a special focus on new technologies and media.
Our research is independent and evidence-based, covering all sides of the market: consumers, leading companies, industry trends, forecasts and public policy & regulation. A complete list of our research can be found here
Video viewing forecasts: Viewing pressured by idle TV use
12 October 2026We forecast broadcaster viewing to decline to 50% of all video viewing by 2031 (from 54% in 2025), driven by continued declines in live viewing, albeit at a slower rate than the sharp year-on-year drop seen in 2025.
Non-live broadcaster viewing will increase its share, supported by older demographics as viewing plateaus among under-35s—a trend also true of SVOD services. YouTube is projected to continue its advance on the TV set across all ages.
Although total TV ‘usage’ is flat versus pre-COVID levels, a material and seemingly growing proportion of it (~9%) is when nothing is being watched (e.g. pausing, browsing): this is correlated with smartphone usage and impinges on actual viewing volumes.
Enders Analysis was mentioned in The Observer on "BT’s £400m TalkTalk takeover: safety net or stitch up?"
12 October 2026Enders Analysis has identified Virgin Media O2 and CityFibre as leading consolidators, as several heavily indebted fibre networks struggle to win sufficient business to justify high investment levels.
Tom Harrington was quoted in The Times on "Can Netflix recreate its Squid Game high?"
12 October 2026“The overarching problem is the amount of long-form content people watch is going down,” Tom Harrington, head of television at Enders Analysis, said. “If the whole thing is shrinking … then that’s a challenge for every broadcaster and streamer.”
Enders Analysis was mentioned in The Telegraph on "Hollywood’s new mogul races to escape an $80bn debt trap"
12 October 2026Skydance has a net debt of roughly $80bn, or around seven times its profits. That is almost three times higher than the 2.5x level normally associated with the industry, according to Enders Analysis.
Karen Egan was quoted in The Telegraph on "Banks brace for £2bn loss from CityFibre restructure"
12 October 2026Karen Egan, at telecoms research group Enders Analysis, said: “Equity shareholders will be asking for some pain on the debt side of the equation in return for the £900m of equity injection, even if that pain isn’t in the form of an official write-down of the debt stack.”
The European contest has achieved success online by expanding the cultural relevance of existing entertainment intellectual property. It remains to be seen whether Eurovision Asia can “drive comparable engagement for a sister brand that does not carry the same heritage and audience buy-in,” says Ben Woods, head of creator economy at Enders Analysis.
Claire Enders was quoted in The Economic Times on "Britain's BBC, Channel 4 discuss broader tie-up to cut costs, sources say"
9 October 2026Claire Enders, founder and chief executive of Enders Analysis, said the idea of a tie-up between BBC Studios and Channel 4 was "a perennial that flowered every so often".
Although BBC Studios could end up as the ultimate home for Channel 4, Priya Dogra, who became Channel 4 CEO in March, had already taken steps to improve its financial footing, such as winning Skydance-owned Channel 5's advertising sales business, Enders said.
"We're very far from a situation where Channel 4 is a failing firm," Enders added.
Jamie MacEwan was quoted in Digiday on "Apple’s secret blocklist is the talk of Advertising Week New York (mostly off the record)"
7 October 2026The push gives platforms an incentive to control both sides of the equation: media buying and the creative feeding it. As Enders Analysis senior research analyst Jamie MacEwan said, “This is absolutely about ad platforms who have invested heavily in AI using it to solve their own problems.”
“The more creative is automated within the platform’s systems, the greater the scope for them to introduce format innovations and optimize performance across placement and creative,” MacEwan said.