A new report from Ampere Analysis indicates SVODs accounted for around half of scripted spanish-language TV content in Spain and Latin America last year.

New research from Ampere Analysis shows that subscription streamers accounted for around half of Scripted Spanish-language TV commissions in key markets in 2025, underlining their leading role in Scripted content across Spain and Latin America.

In 2025, Spanish accounted for 23% of all non-English-language commissions from global streamers, with Netflix and Amazon being the largest commissioners.

Key findings:

• In key territories for Spanish-language content production, global and local Subscription streamers accounted for 54% of Spanish-language TV commissions in Spain and 49% (52 titles) in Latin America (excluding Brazil).

• For global subscription streamers, Spanish is a top choice for non-Englishlanguage content, at 23% of all non-English streaming commissions last year. This is driven by both local and international audiences, who enjoy titles such as Amazon’s Culpa Mía film trilogy.

• Netflix and Amazon were the largest VoD commissioners of Scripted Spanish-language titles in 2025. Netflix accounted for 43% of all Scripted VoD commissions destined for SVoD, BVoD, AVoD and FAST platforms, while Amazon was responsible for 22%. While linear players focus on long-running formats such as telenovelas, streamers favour shorter-run series and miniseries.

• Scripted content spend by subscription streamers in Latin America and Spain rose by 15% year-on-year to $3,774 million* in 2025. Ampere expects it to grow steadily by 19% between 2025 and 2030.

• Crime & Thriller remained the top genre, accounting for 32% of all announced scripted Spanish-language VoD commissions in 2025, followed by Comedy at 21% and Drama at 20%.

• Now established in the Spanish-language content landscape, global streamers have reinforced their position through further investment in production. Last year, Netflix announced a $1 billion four-year investment in Mexico and made a similar commitment to Spain.

• Collaborations between global subscription streamers and local linear players have increased, with seven co-commissioned Spanish-language TV shows announced in 2025. Co-commission numbers remain comparatively low nonetheless, but there is an increasing focus on partnerships, such as distribution deals for popular content.

• Recent deals highlight this trend. Disney+ and RTVE agreed to release new seasons of hit shows like MasterChef Spain on Disney+ shortly after the linear broadcast, extending the reach of local titles and expanding streaming catalogues, particularly in Unscripted content.

Natalie Cruz, Senior Analyst at Ampere Analysis, said: “Over recent years, global Subscription streamers have established a leading role in the production and distribution of Spanish-language Scripted content. From hit series popular during COVID, such as Netflix’s Money Heist, to more recent hits like Amazon’s Culpa Mía and Netflix’s El Eternauta, the domestic and international popularity of Spanish-language titles has led to greater investment in Spanish-language content and has driven partnerships between local players and global streamers.”

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Ampere Analysis confirms the sector tripled its revenue in five years, with advertising emerging as the primary growth engine.

The global streaming market closed 2025 with subscription revenues of $157.1 billion, surpassing the $150 billion threshold for the first time. That is the finding of a new Ampere Analysis report, which puts annual growth at 14% and notes that the sector has tripled the $50 billion recorded in 2020.

Including advertising revenue, the total reaches $177 billion. The share of ad-supported tiers in the overall revenue mix grew from under 5% in 2020 to 28% in 2025 — a structural shift that is redefining how platforms do business: growth no longer hinges on adding subscribers but on extracting more value from existing ones.

“The emphasis is no longer on pure subscriber growth but on deriving greater value from existing audiences. Price optimization and the rise of ad-supported tiers are driving revenue growth, particularly in the most competitive markets,” said Lauren Liversedge, Senior Analyst at Ampere Analysis.

The United States accounts for 50% of global subscription revenues. Netflix leads that market with 14% growth in 2025, driven by a round of price increases early in the year. Looking ahead, Ampere projects that advertising will add an additional $42 billion annually by 2030, pushing global subscription revenues above the $200 billion mark.

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New research from Ampere Analysis indicates AVOD platforms recorded the fastest catalogue growth globally, led by Tubi UK.

New research from Ampere Analysis shows that free ad-supported streaming platforms (AVoD) recorded the fastest catalogue growth globally in 2025, outpacing subscription video-on-demand (SVoD) services globally.

Fox-owned Tubi has led the expansion, enjoying robust growth in the UK.

Six of the 10 platforms with the fastest catalogue growth were free, ad-supported services, including Tubi UK (+99%), Rakuten TV Ireland (+43%) and Pluto TV Canada (+27%). This strong expansion by AVoD platforms outperformed global VoD catalogue growth, which averaged 5% overall in 2025.

With more than 20,000 movies and shows, Tubi is now the second-largest VoD catalogue in the UK, behind only Amazon Prime Video. European broadcasters are also expanding their libraries, particularly BVoD services in the big five European markets. TF1+ (France) and RTVE Play (Spain) grew their catalogues by 77% and 37% respectively.

This reflects the overall trend that saw SVoD catalogue growth lag behind AVoD in 2025. Apple TV led global SVoD services, with catalogue growth of 15%, driven primarily by original productions. While Apple TV’s overall library remains relatively small, this expansion makes it the fastest-growing major SVoD catalogue, ahead of other major international SVoD platforms including Amazon (12%), Paramount+ (12%), Disney+ (8%), and Netflix (4%).

“Looking ahead, free ad-supported platforms will continue expanding their catalogues, particularly in markets where AVoD and BVoD services are widely used, such as the US, UK, France and Türkiye. By comparison, although SVoD catalogue growth has been slower, this is changing. Growth is increasingly driven by collaboration with local broadcasters and a greater focus on local content, particularly for Netflix, Prime Video, and Disney+. This trend of content sharing to increase streamers’ share of local content will continue, with growth extending beyond Western Europe to a global scale”, said Tingting Li, Research Manager at Ampere Analysis.

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A new report by Ampere Analysis indicates global investment will surpass US$78bn by 2030, an increase of 20% from 2025.

Ampere Analysis’ latest forecast for global sports rights media spend predicts that global investment will surpass US$78bn by 2030, an increase of 20% from 2025.

Growth is driven by a combination of factors, including major renewals in the US and rising competition from global streamers drawn to premium live sports rights auctions.

The US will continue to drive global growth, with the new NBA rights cycle starting in the 2025–26 season, alongside new MLB deals from 2029, pushing the US market alone to more than US$36bn in 2030.

Further upside could come if the NFL renegotiates its current agreements. Although many existing deals run until 2034, the League believes its rights are undervalued, and Ampere expects initial discussions to start as early as 2026. Given the scale of the NFL deal, any renegotiation could have a significant impact on global sports rights spend.

Europe will see steadier growth, up 17% from US$18.3bn in 2025 to US$21.3bn in 2030. While major sports properties in the region have faced downward pressure in recent rights auctions, Ampere expects the growing appeal of live sport to global streamers to ignite market competition. Major competitions such as the FIFA World Cup and the Winter Olympics will also drive value growth in 2030.

The growing involvement of global streaming platforms has the potential to reshape competition in European tenders, with rights holders already active in seeking to attract major streaming platforms to rights auctions. In one example, UEFA, working with rights agency Relevent, has secured deals with Paramount as part of its latest Champions League tender.

Ampere also expects Asian rights spend to grow from US$7.2bn in 2025 to US$9.9bn in 2030. Indian cricket will be a key driver, with new deals from 2027 — including for the Indian Premier League and ICC tournaments such as the T20 World Cup — driving strong value growth.

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A new report by Ampere Analysis indicates the top six global streamers reduced their number of scripted originals ordered by 24% in the first half of the year, from 318 to 242.

The number of Scripted TV Originals ordered for production by the top six global streamers – Apple, Amazon, Disney+, HBO MAX, Netflix, Paramount+ – in the first half of 2025 fell by 24% year-on-year, down from 318 first-run and renewed titles, to just 242, according to a new report by Ampere Analysis.

Although the overall industry (excluding these SVoDs) saw an 8% drop in Scripted commissions, the top six streamers’ cuts were three times deeper, indicating a more pronounced pullback.

While all the major streamers reduced their H1 Scripted commissioning volume YOY, Netflix and Apple were least affected, down just 6% and 4% respectively. Amazon Prime Video made the deepest cuts, more than halving its Scripted commissions, with pullback in APAC especially sharp, driving a 52% regional decline in Scripted output across the global streamers.

Western Europe also saw steep reductions in Scripted commissions overall from global streamers, with volumes down 44%, particularly in the Crime & Thriller genre – a key component of the streamers’ productions in the region.

However, Scripted TV Originals in North America held steady at 95 titles, matching H1 2024 levels, while Latin America defied the global trend with a 17% increase.

Several factors underpin the overall reduction in H1 Scripted commissions. Primarily, the move reflects the streamers’ ongoing strategic shift in their business models after the era of ‘peak TV’. This is marked by reduced investments in Originals, a more cautious approach to commissioning decisions, and a heavier reliance on licensing in their content strategies.

The uncertain economic climate and the prospect of taxation on international productions have further exacerbated these trends, while regional disparities also support this picture. Ampere’s monthly data shows a brief recovery in April 2025, followed by a dip in May after the US announced new US movie tariffs. But greater clarity on tariffs and the broader economic outlook could drive a rebound in H2 2025.

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A new report by Ampere Analytics explains how streamers in the US are designing their ad-strategies and their impact in viewer retention.

Streamer ad-tiers have taken off in the US, with the number of paid ad-tier subscriptions eclipsing 225m through Q1 2025. All of those subscribers amounts to a lot of of ad views, but the timing and placement of ads shows not all streamers are handling advertising the same way.

Ampere’s new Analytics – Advertising US data unveils a distinct difference between services, not just around some showing more ads than other – but also when during episodes ads are shown.

Currently, legacy media companies are treating ads for streaming on-demand content just as they would for a broadcast channel, with ad loads peaking at specific times of an episode. But other players, especially the tech-led streamers, are setting a completely different standard.

Based on a company’s history and operations, three streamer types have been categorized as follows: studio-led, being part of a larger media umbrella; tech-led, which puts Netflix and Amazon Prime Video together as subscription services without established media-advertising legacy; and free platforms, which are ad-supported siblings to the studio-led streamers.

During an episode of TV on broadcast or cable, one will typically see more ads during the rising action of the story, when the viewer is likely to keep watching to see how the episode ends. This is also the trend seen for episodes on Studio-led streamers. Not only are there simply more ads on these streamers, but there are clear peaks in ad loads during the 11-20 min. and 31-45 min. portions of episodes. If you think about a traditional half-hour or hour block of programming on broadcast television, the 11-20 min. and 31-45 min. portions would be ideal timing for more ads to be shown to viewers before the final part of the episode. Here, it seems studio-led streamers are utilising the same strategy for their on-demand catalogues, giving viewers an experience similar to one they would expect when they think of TV.

The case is different for tech-led and free platforms, which tend to show fewer ads the longer an episode goes on. While the free platforms have always been ad-supported, the tech-led streamers were explicitly ad-free until relatively recently (Amazon Prime Video rolled out advertising for all subscribers in Q1 2024, demanding an extra fee to opt out). Yet, both platform types have similar approaches when it comes to distributing ads within episodic content.

For the tech-led streamers, especially Netflix, a viewer’s engagement and experience with the platform is more important than playing by the broadcast advertising rulebook. The studio-led strategy is rooted in an audience’s attention – advertisers benefit from heightened viewer attention during specific beats of an episode’s storyline. However, tech-led streamers want the viewers to stick around for another episode again and again, thus “front loading” ads in episodes when a viewer has committed to watching, and decreasing ads towards the end to encourage seamless episode transition.

For the free platforms, their on-demand catalogue is not the only source of advertising. Both Pluto and Tubi have extensive lists of Free Ad-Supported TV (FAST) Channels on their platforms that are always on, and thus always showing ads within a linear environment. Given this, the ad-load around free platforms’ on-demand titles is not only lower than studio-led streamers’ but reflects a view pattern more resembling the tech-led streamers.

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A new report by Ampere Analysis shows over 60% of the global online population now watches “swiping” short-form video content on platforms such as TikTok, YouTube Shorts, and Instagram Reels every day.

Over 60% of the global online population now watches “swiping” short-form video content on platforms such as TikTok, YouTube Shorts, and Instagram Reels every day, according to new research from Ampere Analysis.

Given the power of social media algorithms in predicting what content viewers will want to watch before they do, Ampere expects this figure to rise.

The algorithmic short-form swiping features of social media now score as the second-most used media format daily (63%), after generalist social media apps (73%). These usage rates exceed broadcast TV channels (47%), influencer videos (47%), long-form streaming services (46%), music subscriptions (40%) and gaming (34%).

The respondents who watch short-form swiping content daily are most likely to use YouTube (78% had visited in the past week), Instagram (41%), TikTok (39%), and Facebook (38%).

The popularity of short-form content swiping extends beyond the Gen Z audience. While 18-to-24-year-olds are most likely to view short-form swiping content (73% daily usage), those aged 45-to-54 and 55-to-64 also have significant daily usage at 58% and 49%, respectively.

Short-form swiping has particularly taken hold in Southeast Asia. The Philippines (83%), Thailand (83%), and Indonesia (82%) have the highest proportions of online populations watching this format every day – across all the markets Ampere surveyed.

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The forecast indicates that ViX will reach 10.5 million paying subscribers in the region this year.

Spanish-language platform ViX, owned by TelevisaUnivision, is expected to be the fastest-growing subscription streaming service in the Americas in 2025, according to a new report by analyst firm Ampere Analysis.

The forecast indicates that ViX will reach 10.5 million paying subscribers in the region this year, representing an 18% growth — outpacing other platforms such as Apple TV+ (14%) and Max (9%). This positions ViX as the subscription entertainment platform with the highest expected growth across the Americas.

Among the key drivers behind this momentum are strategic partnerships with U.S. telecom operators, a strong retail network in Mexico, and a freemium business model that combines free content with both ad-supported and ad-free subscription options.

Streaming Ads Fuel Revenue Growth

In addition to subscriber gains, ViX is also leading in streaming ad revenue. Ampere predicts that in 2025, 60% of ViX’s revenue will come from advertising — across both its free and premium ad-supported tiers — while 36% will be generated from ad-free subscriptions.

With streaming ad revenue in Latin America expected to double over the next five years, ViX is well-positioned to continue dominating the advertising-driven streaming market.

Key Partnerships and a Clear Strategy

ViX has secured major bundle deals that drive growth. A recent partnership with Charter Communications in the U.S. will add 900,000 new ad-tier subscribers between 2024 and 2026. In Mexico, the platform has deals with OXXO, Mercado Libre, and Disney+, further strengthening its regional footprint.

“As most platforms shift from chasing user growth to focusing on profitability, ViX entered the market with a clear, tiered strategy from the start,” said Deborah Polanco, Analyst at Ampere Analysis. “It has already become the third global streamer to reach profitability — and in record time.”

Natalie Cruz, also an Analyst at Ampere, added: “ViX has maximized demand for Spanish-language content through a wide catalog and flexible plans that appeal to all audiences. Its stronghold in the Americas and deep understanding of Spanish-speaking viewers have allowed it to monetize effectively through advertising, now its main source of revenue.”

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