The Russian Government has approved a decree aimed at improving the accuracy of audience measurement for media content across streaming platforms and social networks. The new system is designed to streamline statistical data collection while ensuring that all processing is conducted strictly on an anonymized basis.
In the first quarter of 2026, television consumption in Kazakhstan demonstrated stability, though the internal structure of audience preferences continues to evolve.
The global television and video content market has crossed a major point of no return. According to data from the analytical firm Omdia, online video revenues surpassed traditional pay-TV earnings last year for the first time in history.
The broadcast industry’s transition to hybrid (private and public) cloud platforms has gained powerful momentum, driven by increased interoperability among equipment from different vendors. However, the market’s primary challenge has become a shortage of AI resources and a sharp surge in computing costs.
More than half of the professional video content consumed in Russia today is accessed through illegal platforms. This was stated by Alexey Byrdin, CEO of the “Internet Video” Association (AIV), during the TeleMultiMedia Forum 2026.
Russian video platforms continue to solidify their positions in 2026, emerging as the country’s primary channels for content consumption. According to a study by the analytical agency TelecomDaily, Rutube has become the main beneficiary of YouTube’s slowdown, with its usage share reaching 79%.
The United Kingdom has established itself as the leading market for micro-dramas in Europe, reaching 8.2 million monthly active users (MAU) last year.
Streaming television continues to reshape the global media landscape. According to the 2026 global study Must-CTV: From Promise to Performance, published by the digital media measurement platform DoubleVerify, marketers worldwide are aggressively scaling up their ad spend across top streaming venues, with YouTube emerging as the absolute leader in budget growth.
Kinopoisk, Russia’s leading streaming platform and major film database, has updated its policy regarding user reviews. Going forward, long-form audience reviews will not be displayed on the pages of new releases for four weeks following their official theatrical or digital premiere in Russia.
Screeny, a platform that organizes theatrical screenings of premier content from popular digital creators, is testing a new business model: whether an internet fandom can generate consistent, sustainable demand for offline ticket sales.
