The Great Media War: Streaming Trends and Audience Behaviour
In a revealing panel discussion at MIP London today, industry expert Evan Shapiro delivered a provocative analysis of the current media landscape, declaring that “the streaming wars are over” and introducing what he calls “the Great Media War” between business mindsets rather than entities.
Netflix Wins, But The Real Battle Has Just Begun
“We can stop hashtagging streaming wars in our social media posts. Netflix won, congratulations,” Shapiro stated bluntly to the audience. However, he quickly clarified that a new conflict has emerged: “The Great Media War is not necessarily between entities. It’s between mindsets. It’s between the models that we can’t seem to let go of and the ones we have to build while we’re operating the businesses we have.”
Shapiro presented his latest industry map, illustrating how the media landscape continues to transform rapidly. The visual representation, which he updates by hand in PowerPoint several times a month, revealed clear trajectory patterns and highlighted the fundamental shifts happening in audience behaviour.
Two Distinct Ecosystems Emerging
Justin Sampson, CEO of BARB (Broadcasters’ Audience Research Board), joined Shapiro to present compelling data on UK viewing habits. Their research reveals two distinct audience ecosystems forming: traditional broadcast viewers (primarily older demographics) and digital-first audiences (younger viewers).
The data showed that while BBC maintains the largest total audience share at 24%, YouTube has solidly established itself as the second most-watched channel across all platforms. Netflix consistently appears in the top four, outperforming many traditional broadcasters.
The Age Divide in Media Consumption
Perhaps the most striking revelation was the stark contrast in viewing preferences between age groups:
- Over 35s: BBC dominates with traditional broadcasters performing strongly, though YouTube still places third across four screens.
- Under 35s: YouTube and TikTok lead, with BBC falling out of the top three. Traditional broadcasters trail behind Disney+ and other streaming services.
- Under 16s (Generation Alpha): YouTube captures a staggering 37% of viewing time across all screens, with their TV consumption still growing rapidly.
“These are two very distinct audiences,” Sampson noted. “One that prefers apps and social video, and those that prefer broadcast and broadcast apps.”
The Channel 4 Case Study
The panel highlighted Channel 4’s strategic pivot as an instructive example. When the broadcaster leaned into social video by increasing long-form content on YouTube, they saw dramatic growth in viewership on the platform. Critically, they discovered that these viewers were “distinctly different audiences” from those watching via broadcast or their apps.
The Generational Shift
Shapiro emphasised that as younger generations age, they’ll carry their consumption habits with them. “Millennials are no longer children. The oldest ones are 43 years old. The oldest Gen Z’ers are 26, 27. And as they age into the older demos, their habits will go along with them.”
This generational transition suggests the industry is at an inflection point, requiring media companies to develop strategies that address both ecosystems rather than attempting to force younger viewers into traditional consumption patterns.
Looking Ahead
The session concluded with Shapiro urging content producers, distributors and publishers to recognise and adapt to this dual-ecosystem reality: “Look at the two ecosystems that are being built in this territory, and look at how you address the two different audiences, those under 35, the generations that grew up on social media, and the ones who are still using the traditional palettes of broadcast and TV.”
For industry players, the message was clear: success in the “Great Media War” will depend on understanding data-driven audience behaviors and embracing strategies that bridge generational divides in content consumption.
Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).
