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built, and TiVo have focused heavily on integrating local European broadcasters into a unified homepage. This contentfirst approach combines live TV and streaming more seamlessly and resonates better with traditional European viewing habits.
Titan OS and TiVo recently formed a strategic ad-sales partnership in Europe. This gives them the collective ad reach needed to attract major European advertisers, making their
revenue-sharing promises more realistic for TV brands.
Omdia projects that Europe will reach an inflection point in 2028, when combined shipments of V, Titan OS and TiVo reach 11.9 million units. 57 per cent of this total volume is expected to be driven by Hisense and the rapid expansion of its V platform. By 2030, Omdia forecasts that V will reach 18 million units globally, with Europe accounting for 7 million units.
“ At CES 2026, VIDAA OS underwent a major transformation,” commented Patrick Horner, Practice Leader, TV Set Research, Omdia.“ The operating system is transitioning to a new name, V Home OS, to reflect its broader role beyond just televisions. A significant partnership with Microsoft was announced to integrate Copilot’ s generative AI capabilities directly into the platform, enhancing the user experience with advanced AI services. The name change
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is part of the wider push by the
company to position the platform
to be an operating system that
encompasses not only AI but also,
eventually, acts as a shopping
portal.”
Report: 41 % of UK consumers create content
MIDiA Research has published
Rebuilding TV in the creator
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era: UK video consumption and
creation, a new report examining
how the UK video market is
undergoing a structural shift as
content consumption and creation
converge.
The report finds that in Q4
2025, 41 % of UK consumers
create content of any format,
rising to nearly two thirds among
20 – 24-year-olds, a group that
treats creation as a core part of
the entertainment experience
rather than a separate activity.
The data shows that social
platforms and global streaming
services now command more
daily engagement in the UK than
linear TV, which, while remaining
a powerful engine of reach
and monetisation for British
broadcasters, is losing the battle
for everyday attention.
The report also finds a
significant engagement gap
between traditional broadcast
and digital platforms across all
age groups. Nearly three quarters
of 16 – 19-year-olds engage with
YouTube every week, but fewer
than a quarter engage with BBC
iPlayer on a weekly basis. The gap
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persists among 55 – 64-year-olds, with 31 % engaging with iPlayer weekly versus 60 % for YouTube. The data shows the audience challenge for UK broadcasters extends well beyond younger viewers.
Ben Woods, creator economy analyst at MIDiA Research, commented:“ The UK video market is undergoing a once-ina-generation reset. Linear TV still delivers scale and revenue, but social platforms and global streamers have now captured
daily attention. At the same time, nearly half of UK consumers are now creating content in some form, accelerating a shift where audiences, talent and production are converging into a single ecosystem.”
Woods added:“ This is not the end of TV, but its reconstruction, with the creator economy moving from the margins to the centre of how entertainment is made, distributed and experienced.”
The report finds that platforms combining passive viewing, participation, and community creation are positioned to capture more daily attention than those built primarily around scheduled programming or catch-up viewing. It also identifies a gap in BVoD and SVoD offerings: while premium programming is secured for appointment viewing, high-frequency, low-cost formats that can drive continuous socialplatform discovery are largely absent.
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Data: 5 Streaming fastest growing BVoD in Q1
Barb data shows that UK
commercial PSB 5’ s Streaming
service has grown at a greater rate
than any of its Broadcaster VoD
( BVoD) competitors over the first
quarter of 2026, at 25 per cent
– measured by Barb TV viewing
hours growth.
The growth in 5 Streaming
has been attributed to an array
of UK original dramas including
Power: The Downfall of Huw
Edwards, Ellis season
2 and Good Ship
Murder season 3 – as
well as the broad range
of content, including
factual series, sport
and boxsets on the 5
Streaming service.
In comparison, as
measured by Barb TV
viewing hours growth
over the same first
quarter period: BBC
iPlayer viewing was up
8 %; ITVX was down
1 %; and Channel 4
Streaming was up 17 %.
The factual drama
Power: The Downfall
of Huw Edwards has
now been watched, after almost
a month, by 4.2 million viewers
across its linear broadcast and
5 streaming, making it the most
watched title on 5 in 2026 so far.
Reemah Sakaan, President
of 5, commented:“ 5 has had an
incredibly strong start to the
year, growing faster than any
of our fellow PSB streamers
and landing the noisiest and
most impactful drama with
Power: The Downfall of Huw
Edwards. We’ re focused on
building on that momentum
and it’ s exciting to see more new
viewers exploring the depth of
content that we now offer on 5
Streaming.”
Channel 5’ s linear, digital and
streaming platforms relaunched
under a single brand of 5 in
March 2025 – with an expanding
content offering encompassing
UK original commissions, a
range of sport and a library
of boxsets and films from
Paramount and beyond.
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EUROMEDIA 9 |