The research company revealed at Mipcom that new series launches on linear TV fell by 12%, while Netflix and Disney+ also reduced their additions of new content. Meanwhile, France has caught up with Türkiye as the third-largest scripted content exporter, and MIPJunior data highlights the growing influence of YouTube, TikTok and digital formats among younger audiences.
The supply of new content is declining across both linear television and streaming, while platforms are expanding their catalogues through partnerships with broadcasters and audiences are diversifying their viewing habits. These are among the main findings presented by Glance during Mipcom and MIPJunior 2026 in Cannes.
During the conference Unlocking Audience & Content Dynamics: Who is Watching, What, How and Why?, Frédéric Vaulpré, Senior Vice President at Glance, revealed that new series launches on linear television declined by 12% between January and September 2026 compared with the same period in 2025, across 48 territories.
A similar trend can be observed among streaming platforms: additions of new content declined by 12% on Netflix and 41% on Disney+, according to the markets and catalogues analyzed by the company.
However, streaming catalogues continue to grow, largely driven by partnerships with traditional broadcasters.
In France, for example, Netflix’s catalogue grew by 61% in content hours in June 2026 thanks to the addition of TF1+, while Prime Video recorded a 49% increase through content from M6+ and france.tv.
“Streaming has entered its maturity phase, and the line between broadcasters and platforms is blurring. With new content slowing, platforms are growing their catalogues through broadcaster partnerships and moving closer to the TV model,” said Vaulpré.
Live Events Remain One of Linear TV’s Greatest Strengths
During the first half of 2026, linear television viewing time declined in every international market analyzed by Glance.
The UK recorded the steepest drop, with daily viewing down nine minutes compared with the same period in 2025, to two hours per person. Italy remains one of Europe’s largest television-viewing markets, with three hours and 32 minutes per day.
In the United States, streaming’s share of total video consumption increased from 36% in January 2024 to 48.5% in June 2026. During the same period, broadcast television declined from 24.2% to 19.8%, while cable television fell from 27.9% to 19.5%.
Advertising models are also changing. In the UK, BVOD’s share of television advertising revenues grew from 23% in 2023 to 29% in 2025, while in France it increased from 9% to 14%.
In the French market, advertising revenues generated by SVOD services rose from approximately €23 million in 2023 to €200 million in 2025.
Despite these changes, Glance highlighted the ability of major sporting events to attract mass audiences. The 2026 FIFA World Cup reached a cumulative audience of 2.6 billion viewers in China, while England’s semifinal drew 19.9 million viewers in the UK. In Spain, 16.6 million people watched extra time in the final.
The World Cup also had a significant impact among younger audiences. According to the data presented during MIPJunior, the semifinal between England and Argentina achieved an 88.7% audience share among British children aged 4 to 15, representing 1.5 million viewers.
France Catches Up with Türkiye Among the Leading Scripted Content Exporters
Candice Alessandra, Head of Research and Client Experience at Glance, presented the main international trends in scripted and unscripted content, drawing on the company’s NoTa platform, which tracks more than 10,000 new TV show launches annually across 48 territories.
The United States and the United Kingdom remain the two leading exporters of scripted series, but France has caught up with Türkiye in third place.
Despite an overall decline in commissioning, France managed to increase both its scripted exports and the number of new original series produced. Together, the United States, the UK, France and Türkiye account for 60% of the scripted series exports tracked by Glance.
The company also observed a growing number of streaming originals finding their way to local television channels, alongside an increase in coproductions and international collaborations.
Among the key storytelling trends, Alessandra identified the steady rise of ecological dramas incorporating themes such as climate change, biodiversity and environmental activism.
She also highlighted stories about ordinary people confronting powerful institutions or systems, as well as the growing use of food and cooking as central elements in crime narratives.
In unscripted entertainment, the UK, the United States and the Netherlands continue to lead format exports, although their combined share of international adaptations has declined by five percentage points to 58%.
Emerging trends include courtroom formats incorporating comedy and social experiments, competitions inspired by military training and survival, and productions involving video podcasts, digital creators and vertical content.
YouTube and TikTok Are Transforming Children’s Viewing Habits
Changes in viewing habits among younger audiences were analyzed during MIPJunior by Romy Nicolas, International Research Manager at Glance, in the presentation Next-Gen Viewing: Trends Shaping Children’s Content.
In the UK, daily screen time remains relatively stable as children grow older, increasing from two hours and 15 minutes among children aged 4 to 6 to two hours and 31 minutes among those aged 13 to 15.
What changes is how that time is distributed. Smartphones account for just 7% of screen time among children aged 7 to 9, but their share rises to 18% among 10- to 12-year-olds and 34% among teenagers aged 13 to 15. YouTube accounts for nearly half of screen time among children aged 10 to 12, while TikTok is gaining ground among older teenagers, reaching almost 30% among those aged 16 to 18.
“Children’s screen time is relatively stable as they grow up, but where that time goes changes dramatically. Smartphones, YouTube and TikTok take a growing share as they get older,” Nicolas explained.
The executive identified three major trends in children’s entertainment: Build for Scrollers, Beyond the Game and Enduring Appeal.
The first reflects the growth of content inspired by social media storytelling, including creator-led projects, vertical formats and new collaborations between platforms and digital-native talent.
Beyond the Game highlights the appeal of major sporting events and the opportunities they create for developing complementary content, ranging from animation to scripted and unscripted productions.
Finally, Enduring Appeal shows that despite the transformation of screens and formats, the classic ingredients of children’s entertainment remain as relevant as ever.
Animation continues to be children’s favorite genre, while Glance is seeing an increase in anime-inspired productions developed outside Japan. Musical series and animal-led stories also remain popular, with cats gaining ground alongside traditional canine characters.
“The most successful producers are those borrowing the codes of social media while staying true to the fundamentals children have always loved: music, sport, friendship and animals,” Nicolas said.
