The FAST (Free Ad-supported Streaming TV) format has officially transitioned from a passing trend into a permanent, highly lucrative fixture of the European media landscape. European streaming platform Rakuten TV has released an analytical report revealing new media consumption patterns across the region.
The phenomenon of viral internet content continues to rewrite the rules of the Hollywood business. Director Kane Parsons’ thriller The Backrooms has crossed the historic $100 million milestone at the domestic box office (US and Canada), becoming the first film in A24’s history to reach this mark—achieving it in just six days.
Iconic Hollywood director Martin Scorsese has joined the development team at generative AI startup Black Forest Labs as a creative advisor.
Large language models (LLMs) such as ChatGPT and Claude are increasingly being utilized by audiences as personalized guides for media content.
Over the next decade, the streaming platform Freely is well-positioned to become the UK’s primary free-to-air television service.
A wave of IT and YouTube nostalgia has swept the global box office, turning into a massively successful business case. Director Kane Parsons’ thriller The Backrooms, which evolved from a viral internet phenomenon, made a triumphant international debut, grossing $118 million in its opening weekend.
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.
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.
