Apple's secret weakness: its margins aren't as high as you think

55 per cent profit margins sounds like a lot, but someone's got to pay for iOS.

Working my way through AnandTech's mighty iPhone 5 review (and I mean mighty: this thing weighs in at just over 20,000 words), a paragraph jumped out at me. Anand Shimpi writes:

Ironically enough, if Apple’s competitors would significantly undercut Apple (it doesn’t cost $599 - $799 to build a modern smartphone) I don’t know that the formula would be able to work for Apple in the long run (Apple needs high margins to pay for OS, software and silicon development, all of which are internalized by Apple and none of which burden most of its competitors).

This is the flip-side of Apple's much-vaunted vertical integration. The company notoriously earns margins of 55 per cent on the iPhone 5, and that's often taken to mean that its profitability is entirely a result of its ability to charge far above its competitors (even though that's not entirely true any more either).

But while the company charges 55 per cent more than it costs to build each iPhone, it has a lot of fixed costs. It develops its own OS from scratch (while its competitors piggy-back off Google), and is increasingly moving to its own processor development and fabrication as well. That money has to come from somewhere.

Of course, the company remains astonishingly profitable even after the costs of development are accounted for, so starving it out will take a while. But it isn't quite as invulnerable to cost pressures as many think, and that could be something which competitors — particularly Samsung, which is the only other smartphone manufacturer to have nearly enough profit to fight that battle — could use to their advantage.

Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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An alternative Trainspotting script for John Humphrys’ Radio 4 “Choose Life” tribute

Born chippy.

Your mole often has Radio 4’s Today programme babbling away comfortingly in the background while emerging blinking from the burrow. So imagine its horror this morning, when the BBC decided to sully this listening experience with John Humphrys doing the “Choose Life” monologue from Trainspotting.

“I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got Radio 4?” he concluded, as a nation cringed.

Introduced as someone who has “taken issue with modernity”, Humphrys launched into the film character Renton’s iconic rant against the banality of modern life.

But Humphrys’ role as in-studio curmudgeon is neither endearing nor amusing to this mole. Often tasked with stories about modern technology and digital culture by supposedly mischievous editors, Humphrys sounds increasingly cranky and ill-informed. It doesn’t exactly make for enlightening interviews. So your mole has tampered with the script. Here’s what he should have said:

“Choose life. Choose a job and then never retire, ever. Choose a career defined by growling and scoffing. Choose crashing the pips three mornings out of five. Choose a fucking long contract. Choose interrupting your co-hosts, politicians, religious leaders and children. Choose sitting across the desk from Justin Webb at 7.20 wondering what you’re doing with your life. Choose confusion about why Thought for the Day is still a thing. Choose hogging political interviews. Choose anxiety about whether Jim Naughtie’s departure means there’s dwindling demand for grouchy old men on flagship political radio shows. Choose a staunch commitment to misunderstanding stories about video games and emoji. Choose doing those stories anyway. Choose turning on the radio and wondering why the fuck you aren’t on on a Sunday morning as well. Choose sitting on that black leather chair hosting mind-numbing spirit-crushing game shows (Mastermind). Choose going over time at the end of it all, pishing your last few seconds on needlessly combative questions, nothing more than an obstacle to that day’s editors being credited. Choose your future. Choose life . . .”

I'm a mole, innit.