Industry Insights: Viewers are watching more content on more services, global tastes are shifting toward local production, and content exclusivity is giving way to shared licensing agreements that reflect a maturing streaming ecosystem.
A huge data drop in the shape of the 2025 Video Trends Report from TiVo points to some positive signs from the US and Canadian markets. Consumers are spending more money on home video entertainment; more time watching home video entertainment; the average number of services used by viewers is up; and the number of FAST channels watched has almost doubled in a year. Against that, SVOD churn has increased, but given some of the economic headwinds around, on the whole this paints a good picture.
Here are some of the highlights:
Elsewhere, voice control is increasing, local content in what is a massive TV market is increasingly popular, with fewer people watching primetime SVOD and more people watching in the morning, and finally there’s an interesting change in quality perception. The quality of AVOD content is considered to have increased, as has that of TV network apps. The quality perception of SVOD content, meanwhile, has edged downwards slightly.
Key takeaway: Viewers are engaging with more platforms and content types than ever, including a near doubling of FAST usages, suggesting room for growth. However, rising churn and discovery fatigue mean retention strategies, smarter recommendations, and flexible pricing (including ad-supported tiers and bundles) are all now critical.
Widening out the view to a global perspective, new research has revealed that the share of viewing time given over to US content in other countries has decreased by 7% on Netflix, Disney+ and Prime Video over the past five years.
All in all, from 2020 to 2025, the percentage of viewing time of content produced in the US on these three major streaming platforms, as viewed in 19 non-US countries, dropped from 52% to 45%.
As you would expect, there was an approximate matched increase in the amount of non-US content watched in those countries, which moved from 37% to 45%, as viewers opted for local or international content.
There are probably several reasons for this. First, the big streamers have been careful to widen their base so that they are not so reliant on US production. This is in part a reaction to the 2023 WGA/SAG-AFTRA strikes, which in turn will have limited the amount of new US-originated titles that viewers could select. Lastly, as research proves again and again, local content is popular with audiences when offered, especially if language localization is an issue (i.e. non-English content).
In contrast, within the US itself, share of viewing time to US-produced content has remained comparatively steady in recent years at 62%. Only 25% of time is spent on non-US content, with the remaining 13% accounted for by international co-productions between the US and broadcasters and production companies elsewhere.
Key takeaway: As global audiences shift toward local programming, streamers must accelerate regional production, language localization, and culturally relevant storytelling to sustain growth beyond the US.
Across the entire US streaming landscape, 67,000 movies and TV seasons can now be found across at least two different services. This represents an impressive 39% of the total of 172,000 titles available, and is up from 27% only five years ago.
Ampere says that this trend is primarily driven by the significant growth in the volume of titles available on multiple services: Titles simultaneously available on at least three different US VOD platforms have grown from 9% of all titles in 2020 to 21% in 2025.
Contributing factors to these changing dynamics in the US include market consolidation amongst streamers and also market maturity, especially when it comes to SVOD. While established platforms well understand that subscriber retention is driven by original content and flagship franchises, the longer tail of their content portfolios is less central than it was. Making these titles available elsewhere can bring in a significant boost to the revenue stream.
It’s worth pointing out that these rates of non-exclusivity are much higher in the US than in major European markets. Non-exclusivity levels are just 13% in the UK and 8% in France. However, this may change. Ampere points to recently announced streamer-broadcaster pacts – like those ZDF and Atresmedia entered intowith Disney+, as well as Netflix with TF1 and Amazon with France Télévisions – which indicate a similar trend starting to emerge in this region too.
Key takeaway: While originals remain essential for retention, licensing older or secondary catalogues across multiple platforms is emerging as a smart monetisation strategy — extending content lifespan and diversifying revenue in a maturing market.