Oz, The Sopranos and Sex and the City helped establish HBO as a destination for premium original entertainment in part because of how starkly they differed from traditional TV (hence the network’s famous tagline, “It’s Not TV, It’s HBO.”) Cable, unfettered from the tight restrictions of broadcast television, was able to tell stories in new ways that could look and feely wholly unfamiliar to audiences that had grown accustomed to the small screen status quo over the preceding four decades. In this way, it served as a microcosm for content and technological development. As new mediums and distribution pathways emerge, programming adjusts to fit the relative capabilities and restrictions.
Ironically, the entertainment industry is experiencing a similar shift, but in somewhat of a reverse fashion, with the rise of free advertising supported streaming television (FAST). FAST platforms such as Amazon’s Freevee, Fox’s Tubi, The Roku Channel and Paramount Global’s Pluto TV often resemble the user experience and functionality of linear TV. Yes, there can be a strong assortment of on-demand viewing options, but its defining feature is usually channel surfing a wave of “pre-scheduled” programming. But what’s most interesting is the type of programming that tends to resonate with audiences on FAST platforms and how the value proposition differs from subscription video on demand (SVOD) services such as Netflix and Apple TV+.
FAST platforms in the United States have experienced significant growth over the last five years alongside SVODs. While demand for content available on FAST platforms has increased 110% in that time frame, entertainment available on SVOD has increased by 130% in that same period. Within that, the majority of demand on FAST is concentrated among older licensed shows with a high episode count, which also aligns with its supply strategy. (Though supply still outstrips demand on FAST overall).
Importantly, demand on FAST for non-exclusive (labeled as “overlapped” in the chart) licensed series that are available across multiple platforms far outstrips demand for titles exclusive to FAST. The FAST value proposition is designed to solve consumer pain points of high cost and finding content that is otherwise buried on other platforms. In many ways, its linear-like menu removes the paralysis of choice.
This all positions FAST as both a natural bridge for older audiences between linear TV and streaming as well as a helpful destination for younger more cost-conscious consumers. FAST is not a standalone solution for media companies stuck between a rock and a hard place, even as FAST and SVOD platforms generally attract similar audiences. But it is a beneficial additive platform to supplement a larger direct-to-consumer portfolio. Outside of the brief streaming consolidation frenzy of 2019-2022, windowing has never gone out of style. It’s just taking on new forms in the digital era.
Just as cable’s emergence rewrote the rules of storytelling, FAST’s growing prominence is providing valuable lessons in library creation and monetization by creating a feedback loop for older non-exclusive programming.
