Brian Fawher stared at the numbers in front of him and was sure that someone made a mistake. This was in the summer of 2017, and the veteran Nielsen data tightly in Tamba reviewed the results of the initial efforts of the rating giant to measure the amount of broadcast scenes in each platform on TVs. It is not surprising that Netflix has finished from the top, but YouTube was behind it. I said , It is clear that this cannot be, because YouTube is not something that people use on TV,Fuhler remembers.
Eight years later, YouTube dominated only. In April, the Google owned platform made a standard for 12.4 percent of all TV viewing, before Netflix (7.5 percent), which ranked second among the signs. YouTube is not limited to other signs: in its past three monthly reports, Nielsen says YouTube is classified as a distributor No. 1 TV content, the period, and Disney won. During the first quarter of 2025, he saw more people in the United States on YouTube more on TVs than mobile devices – the first time that this happens. He is a long -term executive who worked in both subscription flow services and traditional linear networks explicitly about YouTube’s position in broadcasting wars. “They already have the crown,” he says. “Most networks mainly threw their hands in response.”
Until recently, many in the world of private broadcast on YouTube watched the same way they made video games – as competitors in the comprehensive battle for the public’s interest but they are not really in the same business either networks or broadcasting services. Indeed, some people still refuse when talking about YouTube, as Netflix, who participated in Sarandos, did in March when he said that consumers interested in “killing time” had been “spending time” with movies and performances professionally produced. But in many Hollywood angles, the conversation turned. “What people are talking about in their strategic meetings now are different sizes than they were talking about a year ago,” says veteran executive officials. This includes in Wall Street: In each of the last five Netflix profits, investors have pressed the company not about its views about Amazon or Apple but about how you plan to respond to YouTube. Netflix executives have argued that they compared their competitors in Google, they “play a specific and distinct role in the ecosystem,” said Co-COO GREG Peters in January. However, there have been signs recently that Netflix and other banners learn about the threat of Youtube: that is that YouTube could be on Netflix (and other big subscription subscriptions) What Netflix was linear TV.
In January, Netflix announced a license agreement with YouTube MS. RACHEL (also known as Rachel Accourso) to import four episodes of her successful children’s series to the platform, and in April, she launched a vivid version of the reality host ARLETTE AmULI’s YouTube Dating Series, Pop the balloon or search for love, She started offering the first three new special offers from Al -Hazli Chego from Maga Tony Henkeskel, who Tony killed The podcast was launched on YouTube. Netflix’s moves followed Amazon’s decision last year to recruit Mrbeast (also known as Jimmy Donaldson) for the championship in a series of competition unpaid with a large budget for the named video Monster games, Super-Size exciting business that he pulled for years on YouTube. Although the signs that hold talent from YouTube are hardly new, the size and frequency of these deals grow – as in the upward direction: Mrs. Rachel, Mrbeast and Hinchcliffe have all the tremendous successes of her new platforms. And more YouTube mining on the road. Sarandos recently told investors that when video podcast becomes more popular, “I think you will see some of them find their way to Netflix.”
So, while Sarandos may offer a polite shade about the big difference between Netflix and YouTube, it seems that he and his colleagues are well aware of YouTube capabilities to steal the market share – and perhaps for some time. A Hollywood CEO has long remembered that Red Hastings, one of the founders of Netflix, heard about “YouTube’s ascension” at a special event in the industry in 2018: “Reed said,” The real threat when they organize themselves is YouTube.
YouTube was already thinking about how to get larger screens 15 years ago. This is when the company issued the first version of its specially designed application for TVs and began exploring how to serve the masses that wanted to watch the content in the old school method. There was the “channels” initiative on YouTube, which was announced in 2011, which witnessed Google Investt more than $ 100 million to partnership with Hollywood Studios and celebrities, followed in 2015 by YouTube Red (now known as YouTube Premium), a subscription service that allows customers to overcome ads on the platform and watch assets YouTube that sees Netflix (where Cobra Kay I got its beginnings). Although most of these previous efforts did not come out, YouTube has achieved much more success by pressing linear TV. In 2017, YouTube TV launched, as it provided wire stations who still want to reach networks such as ESPN, MSNBC and Bravo a way to reach them at a much lower cost and without troubles that come from dealing with major players. By early 2024, it grew to become the third largest cable company in America, behind the Charter and Days only.
Another big step in YouTube television was in late 2022, when the company started allowing customers to register in HBO Max and Paramount+, and more than ten other services from within YouTube and then watching offers and movies from those services in the same place they get from the Rhett & Link dose. Likewise, when Google became the exclusive home of the American Football Association Sunday ticket A package in 2023, persuaded the league to allow her to sell subscriptions through both YouTube and YouTube TV. Suddenly, YouTube Main has become one store for both the user and some of the most famous brands in entertainment and sports. “Viewers do not think of the content of their favorite creators differently from live sports, differently from the content of the written studio,” says Marie Eileen Ko, YouTube’s chief official in YouTube. YouTube still attracts a young audience-in April, Nielsen said 45 percent of her viewers on TVs were less than 35 years old-but according to Vehrar, the great and surprising reason is that it was good in recent times, as Bomer and Gen-X viewers have really begun to embrace the platform really, “has been really accelerated since the Palestinians” in general more than 50 General.
COE is mostly mysterious when asked whether any specific content categories have emerged in recent years (Nielsen has not been measured after what youtube content or channels monitored by people on TVs, although they are working on them). But it indicates two regions where YouTube focused on developing its products and muscle marketing and witnessed great success: vertical videos similar to Tiktok called “Shortat” and video. “We have already exaggerated a completely new type of podcast where you watch the video while listening to the sound; 400 million hours of podcasts are monitored in the living room on a monthly basis,” says Ko. YouTube is now how most people in the United States get their pod, and they hit Spotify and Apple. In May, YouTube made a weekly rating of the best 100 most viewed podcasts in the country, and while Joe Rogan, Jiu Phone and others performed 48 hours and 60 minutes Podcast and NBC A closer look – late at night with Seth MairesAll of them made the best 25 in one week. In other words, YouTube’s growth on TV is partly driven by the old media.
YouTube executives love to emphasize the symbiotic nature of their platform’s relationship with Hollywood studios. They notice that most of the entertainment blocs use YouTube to promote their films, shows and albums. COE introduced work with Hollywood “partners” several times, and Disney’s praise for “the best studio content in its class” and talking to Netflix “examining” some of its content in short pants. But one of the upper factors is not convinced that the platform is close to joining services such as HBO Max or Apple TV+ when it comes to prestige and familiarity. He says traditional signs and networks “do things that YouTube cannot.” “There are 50 to 60 percent of the audience that was not literally on YouTube. When you are made Quiet place, He goes to Zeitgeist forever, while YouTube shows do not seem to have a long resonance. “It compares the largest YouTube songs with a reality fee:” It can be disposed of. “However, if there is one lesson to be learned from the method of resflix in Hollywood in 2010, things can change quickly in the broadcast era.
