Murdoch's Tubi hopes to replicate its US success as it launches here in the UK.

There was once an idea about using watermelons as markers of progress; now there’s talk about using them instead!! Tubi’s home page provides plenty of viewing choices – Wes Anderson classic Moonrise Kingdom, Channel 4 sitcom Fresh Meat, reality series about adult content creators, Bollywood hits and shark films are among its offerings – much like when entering Britain’s video streaming market this week. Tubi will compete against Netflix, Disney+, ITVX and BBC iPlayer using free, ad-funded service offering over 20,000 films and episodes with plans of replicating its success from America where Tubi currently boasts nearly 80 million monthly users! Will Tubi make an equal impactful statement here, where rival platforms already are well established? Anjali Sud, Tubi’s CEO, states that North American audiences who were underserved by competitors have responded well to Tubi. “Tubi offers content and stories that make people feel seen,” according to Sud. Bollywood titles and arthouse flicks are two genres she believes would appeal to UK audiences; with Tubi “listening carefully” to audiences’ preferences so output could be tailored over time to suit audiences needs, which means content may change over time as audiences demand changes are implemented into productions like House of Heat by Rupert Murdoch’s Fox Corporation – owned by Disney, Lionsgate, NBCUniversal and Sony Pictures Entertainment as well as Tubi own productions like House of Heat. “Despite increasingly competitive markets in both countries,” states Sud. Here is Moonrise Kingdom which forms part of Tubi’s offering. Photograph by Niko Tavernise/APThe UK market for streaming is highly fragmented, dominated at one end by paid-for services like Netflix, Disney+ and Amazon Prime while free-to-view offerings from ITVX (with its premium tier free from ads), Channel 4 and Freevee are largely run as advertising-funded free services alongside BBC iPlayer which relies heavily on license fee funding for content delivery. Tubi believes its eclectic selection of content aimed at young and ethnically diverse audiences in the US as well as cable refusniks will gain traction within UK market, which features both paid-for services as well as free ones. Kantar Worldpanel recently conducted research which indicated that Netflix and iPlayer are watched by over half of UK households; ITVX comes next at just under 40% while Channel 4 stands at 35% with Amazon Prime at 31%. Kantar’s global insight director Dominic Sunnebo believes the UK ad-funded streaming market has experienced significant expansion over the past 12 months, particularly through free services like Freevee (9% and Roku Channel at 3.4% respectively). “Tubi isn’t replacing subscription video on demand in any meaningful way, yet viewers are engaging more deeply with these platforms,” states Sunnebo. Sunnebo suggests that Netflix, Disney+ and Now TV won’t feel threatened by Tubi’s arrival – instead it may increase pressure on rivals operating within this free, ad-funded space. He comments, noting the companies had experienced relatively easy growth up until now and noting Tubi’s content mix of older films, TV series, niche genres such as Korean and Nollywood movies will also appeal to its target market. “Tubi’s content mix provides filler that meets demand in some way – there is need for that type of thing.” Sometimes people just need something light-hearted to watch on TV – something like Mary Berry’s Absolute Favourites available through Tubi TV is perfect! Photograph: Shine TV/BBCRahul Patel of Ampere Analysis believes ad-funded services are currently experiencing the largest growth. He states, “Consumers have reached their limit with regard to services they want to pay for, so consumers may opt for alternative funding models such as ads.” Ampere’s recent video streaming data also highlights social media’s dominance: YouTube, Instagram, Facebook and TikTok take up four out of ten places on Ampere’s list of 10 video streaming services. Tubi remains confident that their content will resonate with certain UK audiences despite fierce competition for eyeballs. Enders Analysis’s new report highlights strong growth over the last year among younger audiences and those from minority demographics including black, Hispanic and LGBTQ+ viewers in the US. Tom Harrington of Enders Analysis was highly skeptical when presented this information, however. “Nobody in the UK market feels underserved. With streaming technology already providing access to almost everything ever created, almost everything that ever was is already out there somewhere. Subscribe to Business Today, and let us get you ready for an amazing working day – every morning you will get all the business news and analysis you need for an efficient start. *Privacy Note* Our emails may include information regarding charities, online ads or content funded by outside sources that is sponsored or supported. For additional details please view our Privacy Policy. Google ReCaptcha helps protect our website, with their Privacy Policy and Terms of Service applying accordingly.After newsletter promotionHe notes how free services with ads must compete against public service broadcasters such as ITV, Channel 4, and BBC who create content tailored specifically towards UK viewers. Tubi offers content from UK broadcasters that is “original, more desirable, and relevant to UK audiences”, says Sud. Although domestic programming such as Mary Berry’s Absolute Favourites and Fresh Meat may appear on Tubi, competing against ITVX’s Love Island, Mr Bates Vs Post Office Vs Douglas Is Cancelled Vs the vast iPlayer library is something Tubi will assess carefully prior to investing money on local content production. Sud says Tubi hopes to gauge viewer preferences before investing further resources towards domestic programming production costs or spending money on local programming development costs or domestic programming investments in UK viewers’ eyes before investing large sums of money into domestic-focused domestic shows or programs of their own content production costs.