On Thursday, 18 September, we discussed what the future might hold for broadcast TV and cinema in the age of media streamed over the Internet.
TV – The Past
We recalled how in the early days of TV, there were few channels- The limited programming consisted of children´s programmes after school hours, then a news bulletin, then (after the children’s bedtime, around 7.00 pm) a serialised drama. TV schedules dictated daily lives. The advent of video tape recorders freed us, and digital satellite TV enabled us to watch one programme while recording another. The number and variety of channels exploded. Then came TV over the Internet (IPTV) and streaming services enabling us to watch what we like when we like.
TV – The present
Peter remarked that UK satellite TV services will soon be ending: Uncertain future for satellite TV – What next for Sky Q and Freesat users? : https://rxtvinfo.com/2025/uncertain-future-for-satellite-tv-what-next-for-sky-q-and-freesat-users/ ” How long is satellite TV guaranteed to continue in the UK and Ireland? In short, until the end of 2029 – under four and half years from now.”
Taking the UK as an example, the main broadcast TV channels seem to be dominated by game shows, cookery programmes and repeats. Missed episodes of dramas can be seen on “catch-up” TV, but only in the UK (unless you have a VPN). Chris suggested that the audience for these programmes is mainly the elderly, since young people get their entertainment on social media.
News consumption: Broadcast TV or Internet?
(Few people read newspapers these days unless they are online!)
To see Broadcast news, you need a TV. In contrast, news distributed over the Internet is accessible on many internet-connected devices e.g. Phones, PCs, tablets and TVs .
Younger generations tend to get their news via social media: https://reutersinstitute.politics.ox.ac.uk/news/how-these-new-platform-driven-news-outlets-are-attracting-young-audiences “Smartphones are everywhere. So it’s not surprising that mobile-first digital platforms are widely popular with Gen Z. According to our research, video is becoming a more important source of news online, especially with younger groups. Platforms like TikTok, YouTube and Instagram are staples in the online diet of young people, for news as well as any purpose. In fact, in 2024, TikTok overtook X in terms of usage, according to our research.“
News consumption in the UK in 2024 has been analysed: https://www.ofcom.org.uk/siteassets/resources/documents/research-and-data/tv-radio-and-on-demand-research/tv-research/news/news-consumption-2024/news-consumption-in-the-uk-2024-report.pdf?v=379621 “BBC news output, across all its platforms, reaches 68% of all UK adults, and BBC One continues to be the most-used single source of news. However, Public service broadcasters are declining in popularity and four of the top ten individual news sources are now social media platforms……”Online sources continue to be most popular among the younger age groups, with nine in ten (88%) 16-24-year-olds using online sources for news. Social media is the main driver of this, with eight in ten (82%) young adults using this platform. Only half of 16-24s (49%) use TV for news.”
Chris noted that the BBC News TV channel tends to be parochial and is not live-streamed internationally. Video clips and news articles in several different languages are freely available via the BBC World Service platform on the Internet. https://bbcnews.bbcstudios.com/platforms/bbc-world-service/ But who bothers digging around through menus on a website to get news articles these days?.
Peter remarked that the articles were likely to be linked to social media platforms such as Facebook and TikTok.
Live Streamed News:
Chris maintained that if the BBC wished to maintain international “soft power”, it could at least live-stream its news channel globally since many other international news providers do so, often in several languages:
France 24:
Streams its news in four main languages: French, English, Arabic, and Spanish. These language feeds are available through its website, mobile apps, connected TVs, and various cable, satellite, and streaming platforms (e.g YouTube) globally.
Aljazeera (Qatar) : Live streams in Arabic and English on YouTube – as well as on other platforms:
Deutsche Welle (Germany) Live streams news in English, Spanish and Arabic on YouTube as well as on other platforms.
…and of course Sky News from the UK Live streams in English:
Many other foreign news agencies live-stream their news channels in English on YouTube e.g. CNA from Singapore, https://youtu.be/XWq5kBlakcQ, TRT News (Turkey – Türkiye) https://youtu.be/ZCaNE6kI0tk, CBC (Canada) https://youtu.be/5vfaDsMhCF4
We found out that Live-streamed news channels on You-Tube buffer 4 hours of content, so you can see what the news channel was transmitting earlier in the day.
Streaming vs Downloading
Tom asked what the difference was between streaming and downloading, and didn’t get an answer. Here’s what Gemini says:
“Streaming involves accessing and watching or listening to content in real-time over the internet without permanently storing the file on your device, while downloading saves a full copy of the content to your device’s memory (storage) for offline access later. Key differences include the need for a stable internet connection for streaming versus offline access for downloads, whether the file is stored locally (downloaded files) or temporarily accessed (streaming), and potential issues like buffering during streaming, which is not a factor in download”
Television via Internet Streaming (IPTV)
Here in Spain, we can watch British and international TV channels through subscription IPTV services. These stream UK channels via servers in the UK on a pre-configured Fire-Stick. The reselling of copyrighted media in this way is illegal, and some of these services have recently been abruptly closed down.
We noted that Smart TVs have pre-installed streaming apps, some of which are subscription-free. Users can install additional apps and VPNs too. Chris has found that most of the free content on her Samsung TV is in Spanish, which isn’t surprising since we are in Spain.
If you search the Internet, it is easy to find websites for streaming TV and movies for free:
Pluto TV: https://pluto.tv
.. a free, ad-supported streaming service owned by Paramount that offers a variety of live channels and on-demand movies and TV shows across many genres. It functions similarly to a traditional TV lineup with scheduled programming but is delivered over the internet, making it an “over-the-top” (OTT) service. You can watch it on connected TV devices, web browsers, and mobile apps without needing a paid subscription (Gemini AI)
Plex: https://app.plex.tv/desktop/#!
… a global media platform and streaming service that offers free, ad-supported movies, TV shows, and live TV, alongside a universal watch list and a powerful search engine that can find content across other streaming services. It also provides a way to organise and stream your personal media collection, like movies and music you own, to any of your devices. (Gemini)
Popcorn Time: https://popcorntime.app
Which aggregates content across many platforms.
For music aficionados, there is Streamed opera. Some are free for home viewing!: https://operavision.eu “OperaVision is a freeview opera streaming platform, supported by the European Union’s Creative Europe programme. The place to see opera online, OperaVision is a window on the varied landscape of musical theatre for a connected world.“
For sports addicts, try Eurovision Sport: https://eurovisionsport.com/en/home
… a free-to-watch digital streaming service offering live sports, replays, and highlights, accessible via its website (eurovisionsport.com) and mobile app. It collaborates with the European Broadcasting Union (EBU) Members and national sports federations to provide a wide range of sports content to a global audience. (Gemini)
Broadcast TV Drama seems to be losing the battle with streaming:
With a broadcast drama, you have to wait for weekly episodes, though apparently the BBC’s “Catchup” service lets you watch the whole series at once. Which begs the question, why broadcast in the first place?
A streaming service, such as Netflix, often releases all episodes at once so that subscribers can binge-watch and dip in and out when they want. Sometimes, if series 1 was a success, series 2 is drip-fed to enhance the online “buzz” and attract a wider audience. Netflix has a large back catalogue of international film dramas and series, subtitled and dubbed in many languages. It is available in 190 countries, while broadcast media is beamed to smaller, local audiences.
The BBC complains they don’t have the resources to make cutting-edge dramas any more, although, unlike commercial broadcasters, it is not driven by advertising revenue. This theoretically allows it to pursue artistic risks and quality without prioritising maximum viewership for commercial appeal. However, they have to keep the TV license payers – i.e. the old age pensioners happy, and the elderly Brits feel that they are being left behind by broadcast TV offerings: https://rxtvinfo.com/2025/older-brits-left-behind-by-tv-according-to-new-research/
It’s interesting to note that the last big international hit for the BBC was “Killing Eve” produced in UK for BBC America, which is an advertising-supported Cable TV channel.
Chris forgot to mention the 2025 British Emmy award-winning drama “Adolescence” which was created in the UK by independent film companies. The four-part series was cutting-edge in both content and production, and the British Government identified it as recommended viewing. https://about.netflix.com/en/news/netflix-makes-adolescence-available-to-all-secondary-schools-across-the-uk . It was too expensive for UK broadcast TV companies to make, so was initially funded by Amazon Prime, and eventually distributed on Netflix.
How can Cinema compete?
Young people seem to be returning to the cinema post-COVID in the UK. https://www.theguardian.com/film/2025/aug/13/why-younger-people-are-flocking-to-independent-cinemas Young people are drawn in by the promise of a ‘no-distractions’ zone, rereleases of old classics and music documentaries by global artists… However, Ben Luxford, director of UK audiences at the British Film Institute, says that this new wave of film fanaticism is “still quite a small pocket of people ultimately”…“It might be fuelling a change in the audience at places like the BFI Southbank or in cinemas in university towns across the country, but it’s not happening everywhere,” he says.
Data from the States paints a different picture..https://civicscience.com/the-real-reason-people-still-arent-going-to-movie-theaters/ There, adults prefer to watch newly released movies for the first time at home (65%, compared with 35% who prefer to see them in theatres)…..Today, new movie viewing preferences are less about the convenience of watching from home and more about content and cost. A recent CivicScience poll flagged ‘lack of interest in most movies shown’ (30%) and ‘ticket prices’ (27%) as the primary reasons they don’t go to the movie theatre more often.
People in the film industry are generally pessimistic about the future of traditional cinemas : https://filmstories.co.uk/news/traditional-cinema-experience-will-no-longer-viable-by-2045-says-industry/
Few Club members had been to the cinema in Jávea recently – the last film Chris saw there was the big screen epic, “Dune II” (the sandworm riding scene was brilliant!). Films are often streamed quite soon after cinema release, and home cinema setups can be pretty good, so it takes an acclaimed movie or blockbuster to get people out of their homes. A good film deserves to be watched more than once, something easily done at no extra cost on a streaming platform. Nevertheless, after the COVID pandemic and in the present climate of remote working, a night out at the movies can become a valuable shared experience.
Richard described a luxury cinema screening with food and comfy seats. This seems to be a growing trend: In the UK, cinema chains are investing heavily in luxury experiences such as the ODEON through its “Luxe” brand, featuring fully-reclining seats, enhanced technology like iSense screens with 4K projection and Dolby Atmos sound, and premium food and drink offerings. Another significant player in the premium cinema space is Everyman, which focuses on creating a relaxed, upscale atmosphere with comfortable seating and excellent hospitality services, alongside a diverse range of films and events. (From Gemini)
Small independent films need to find avenues to be recognised. Streaming sites provide a platform for budding film makers. Vimeo is a leader in this field https://vimeo.com . Creators subscribe to upload and share their films, which viewers can watch for free. Many of these films become award winners.
The Future ?
Perhaps we are looking at a multimedia model incorporating theatres, streaming and globalisation?
Movies that flopped sometimes become hits when streamed.
Movies that “flopped” at the box office but have later found a new life and significant success through streaming or home video include The Shawshank Redemption, Fight Club, Blade Runner, Mulan, Strange World, The Last Duel, The Matrix Resurrections, and Encanto. These films often gained popularity due to their availability on streaming services, word-of-mouth, or cult followings that grew over time. Classics can be digitally upscaled to 4K and re-released in cinemas to a new generation. https://filmstories.co.uk/news/2025-re-releases-heading-back-into-cinemas/
Successful streamed films can end up in cinemas and theatres
Take, for example, the extraordinary case of “KPopDemon hunters” This 3D animated film with a weird title has been a record-breaking hit for Netflix. It was released in June 2025, and by September, it had been viewed over 314 million times worldwide. The success transcended cultures, and it was ranked in the top 10 in over 90 countries. The songs became chart-toppers with “Golden” spending six non-consecutive weeks at No. 1 in the UK.
Why? How?
The film was made by Sony, which sold it to Netflix during the pandemic while it was still under production. Unlike Disney, Sony gives its animated film producers considerable creative freedom. They broke the established rules for animation, followed by its big rival Disney, creating something different and fresh. Themes of friendship, resilience and self-acceptance resonated with younger audiences. Youngsters repeatedly played it, so that households were hooked on the catchy songs, extending the fan base (and perhaps subscriptions to Netflix). Although the story is set in Korea, it is a US/Canadian production made in English (with the occasional Korean phrase thrown in). The creative team included key inputs from members of the American Korean diaspora, including voice actors and singers, and it was careful to remain true to Korean culture. So much so, that the film has been well received in that country and stimulated tourism there. https://time.com/7308535/kpop-demon-hunters-influence/ “Though the success of KPop Demon Hunters has been led by children, the animated film stands out as a rare cross-demographic hit in a streaming era when audiences have become increasingly fractured across devices.”… It is also the right film at the right time.. “Lately, in both pop and K-pop I haven’t seen many songs at the top of the charts that centre around hope,” lead singer Ejay says. “Yet I feel like we’re living in a time where the world is collectively longing for it. The song “Golden, carries that sentiment both lyrically and sonically, offering the listeners a moment to breathe, to believe in yourself, and to dream again.”
Netflix carefully tailored dubbed versions to suit particular countries and regions, in some cases re-recording the songs with native singers e.g. Filipino, French, Hebrew, Hindi, Portuguese (Brazil), Russian, Latin American Spanish, and Turkish. The Filipino dub, in particular, involved a local post-production house to translate all the songs.
A singalong version of the film with embedded lyrics was released on Netflix and shown in targeted cinema screenings mostly in the US and UK, netting an estimated $20 million. Families who had enjoyed the movie at home now had the opportunity to enjoy a shared experience singing along with hundreds of other fans and to introduce it to friends who did not have a Netflix account. Songs were streamed on Spotify and YouTube with hundreds of millions of plays. CD and vinyl releases with extra tracks in versions tailored for different countries are in the works.
Here in Spain, a live tribute show is touring the country, while dance schools in Barcelona have seen a surge of interest in K-pop choreography El fenómeno ‘KPop Demon Hunters’ impulsa la demanda de clases de baile https://comunicae.es/notas-de-prensa/el-fenomeno-kpop-demon-hunters-impulsa-la
Would it have been such a hit if it hadn’t been on Netflix?
What hints does this give us about the future?
- Broadcast TV will disappear to be replaced by streamed content.
- Streaming companies, especially Netflix with its well-curated Global reach, will become more important than the old Hollywood cinema studios.
- There will be more international collaboration in productions (unless WWIII breaks out)
- Content makers and streamers will come to new financial arrangements to ensure a better deal for the creators
- Cinemas will be transformed into multimedia theatres, providing a variety of shared experiences
- Small, niche film-makers will gain international recognition through streaming platforms.
- With the huge range and variety of content available, people’s experiences will become more “atomised”. We’ll all be watching different things without overlap.
- Global streaming and marketing will create huge international markets for spin-offs
- We’ll need a new lexicon to describe the “moving picture” arts. Currently, a story told in one episode is called a “movie”, a story told in two or more episodes is called a “TV series” .. even if both are watched on a phone.
Christine Betterton-Jones – Knowledge Junkie