The winds of change in the media market have dispelled the myth that streaming services are the safest home for new shows. According to “The Show Must Go Off,” a study by analytics firm Luminate, major SVoD platforms renew just 44% of their series for a subsequent season.
The primary advantage of streaming platforms—watching movies without commercial breaks—is gradually becoming a thing of the past.
The French film and television industry is sounding the alarm over government plans to slash state funding for the public broadcaster France Télévisions.
Television retains its position as the foundational media channel for major brands, yet the approach to media planning is undergoing a fundamental transformation.
Belarusian brand Belintersat is preparing for the full-scale launch of tuta TV, a national satellite television platform scheduled for commercial rollout in 2027.
Last weekend saw a sharp surge in cinema attendance, with aggregate box-office revenue for the top 20 releases in Russia reaching RUB 619 million—a 53% increase over the previous weekend.
The Russian online video market continues its transformation, with the key competition between domestic and foreign platforms shifting from basic availability to the realm of viewer experience.
The Russian Ministry of Culture has significantly raised its financial demands on filmmakers who breach subsidy agreements. Over the first eight months of 2026, the ministry filed 11 lawsuits against production companies.
The Asian Contents & Film Market (ACFM)—the industry arm of the Busan International Film Festival—has finalized its business lineup for 2026. This year, the market places a major focus on the widespread adoption of generative AI and ultra-short-form video content.
Kinopoisk has unveiled a product digest highlighting new features introduced over the summer. The platform focused on adapting to changing user content discovery habits, aggregating third-party libraries, and expanding its ecosystem beyond video streaming.
