YouTube vs Netflix Streaming & The Future of Branded Entertainment.

For decades, brands looking to reach mass audiences had a simple formula—book ads around prime‑time shows on major broadcasters. Those days are fading fast. According to Ofcom’s Media Nations 2025 report, British viewers now spend an average of 4 hours 30 minutes a day consuming video across TV and online platforms[ofcom.org.uk], but only about 2 hours 24 minutes of that is spent with broadcast television[ofcom.org.uk]. The traditional TV share of viewing has fallen from 71 % in 2018 to 56 % in 2024[theguardian.com]. In its place, a new hierarchy has emerged where YouTube has become the dominant gateway to video and Netflix remains the premium on‑demand destination.

 

As a media founder, advising brands regularly on strategy, I see this convergence of platforms not as a threat but as a massive opportunity. By understanding the different roles YouTube and Netflix play in consumers’ lives—especially among younger audiences—brands can craft entertainment that people want to watch, not skip. This article synthesises the key findings from Ofcom’s report and secondary research, and outlines how marketers can leverage the “King” and “Queen” of streaming to build powerful branded entertainment strategies.

 

The new hierarchy of streaming: Why YouTube is King and Netflix is Queen

Ofcom’s data leaves little doubt that YouTube has overtaken ITV to become the UK’s second‑most‑watched service. Audiences spend an average of 39 minutes per day on YouTube, with 16 minutes of that on the TV screen[ofcom.org.uk]. For context, Netflix users spend about 22 minutes per day watching the subscription service, yet Netflix still commands roughly half of all SVoD viewing[ofcom.org.ukofcom.org.uk]. This underscores the complementary nature of the two platforms—YouTube dominates volume and first‑port‑of‑call behaviour, while Netflix leads premium long‑form consumption.

 

The power of YouTube lies in its ubiquity and frictionless access. In Ofcom’s survey, 20 % of children aged 4‑15 go straight to YouTube when they turn on the television[ofcom.org.uk]. Netflix comes second at 18 %, demonstrating how close the competition is among young viewers[kidscreen.com]. Even older demographics are catching up: over‑55s doubled their YouTube TV viewing between January 2023 and December 2024—from 6 minutes per day to 11 minutes[telecoms.com]. Importantly, 42 % of YouTube viewing in this age group now happens on TV sets, up from 33 %[telecoms.com].

 

Netflix, meanwhile, remains the Queen of streaming. Its reach is unparalleled: nearly six out of ten UK households subscribe[kidscreen.com], and it captures half of all SVoD viewing[ofcom.org.uk]. While 14 % of households have downgraded their Netflix plan and 4 % unsubscribed in the past year due to cost concerns[ofcom.org.uk], the platform still commands loyalty. Its ability to produce cultural moments like Minions: The Rise of Gru (13.7 million viewers) and Adolescence (12.2 million viewers by early 2025) illustrates how premium originals are topping weekly TV ratings[kidscreen.comadvanced-television.com].

 

For brands, this means embracing a dual strategy. Use YouTube for reach, discovery and engagement; turn to Netflix for prestige storytelling that rewards deeper attention. These roles are not mutually exclusive but synergistic. Half of YouTube’s top‑trending videos now resemble mainstream TV, including long‑form interviews and game shows[ofcom.org.uk]. This blurring of formats is a signal that both platforms are converging into a seamless video ecosystem.

 

Kids lead the revolution: Why children matter to branded entertainment

No demographic demonstrates the power of YouTube like Generation Alpha. Ofcom found that children aged 4‑15 spend just 36 minutes a day watching broadcast TV[kidscreen.com]. By contrast, a separate study by Precise TV and Giraffe Insights shows they spend an average of 83 minutes per day on YouTube.

 

Kids also help define platform hierarchies. In 2023, 34 % of all UK YouTube viewing at home occurred on TV screens, rising to 45 % in 2025 among children aged 4‑15[ofcom.org.uk]. What do they watch? According to Precise TV, the top categories are cartoons (47 %), toy‑ and game‑related videos (40 %)[kidscreen.com]. This mix signals that YouTube serves as a key channel to launch entertainment-first strategies as a toy brand or any brand that serves a young audience.

 

Importantly for marketers, children are co‑viewing YouTube with adults more than many assume. While 57 % prefer to watch alone, 49 % of parents say they watch YouTube with their kids[kidscreen.com]. This shared viewing environment creates a fertile ground for family‑friendly branded content. It’s no accident that channels like PAW Patrol, Pokémon and CoComelon rank among the favourites[kidscreen.com]—they represent franchises that deliver both story and merchandising opportunities.

 

This co‑viewing also amplifies ad effectiveness: 68 % of children in the study recalled seeing ads on YouTube, compared with 52 % for broadcast TV and 36 % for ad‑tier streamers[kidscreen.com]. Thirty‑five per cent of parents reported that the last item they bought for their child was advertised on YouTube, demonstrating a direct link between YouTube and purchase conversion[kidscreen.com].

 

The collapse of broadcast and the rise of non‑linear viewing

Ofcom’s report paints a stark picture for linear broadcasters: fewer than half of 16‑24‑year‑olds now watch broadcast TV in a typical week, down from 76 % just six years ago[ofcom.org.uk]. Children aged 4‑15 are following a similar trajectory, with weekly broadcast reach falling from 81 % in 2018 to 55 %[ofcom.org.uk]. Even among middle‑aged viewers (45‑54), reach slipped from 89 % to 84 % in a single year[ofcom.org.uk].

 

Time spent tells a similar story. 16‑24‑year‑olds now watch 33 minutes of broadcast TV per day, of which only 20 minutes is live[ofcom.org.uk]. They devote three times as long (1 hour 33 minutes) to video‑sharing platforms[ofcom.org.uk]. Even as total video time rose by 6 minutes (to 4h31 in 2023) due to increased streaming, broadcast’s share keeps shrinking[ofcom.org.uk]. Viewers turned to video‑sharing services, which saw daily viewing rise by 12 % to 49 minutes, and broadcasters’ own video‑on‑demand services, which climbed 29 % to 20 minutes[ofcom.org.uk]. This shift underscores how streaming is not only replacing but augmenting traditional viewing.

 

Despite this decline, linear TV still commands large audiences for live events. In 2024, major programmes like Gavin & Stacey: The Finale (18.6 million viewers) and Wallace & Gromit: Vengeance Most Fowl (16.9 million) were the most‑watched shows[advanced-television.com]. The Euro 2024 final drew 19.8 million viewers across BBC and ITV[advanced-television.com]. This indicates that broadcast remains vital for “appointment viewing” while everyday entertainment moves elsewhere.

 

5 steps for brands who want to win in this new media space

For brands, the collapse of broadcast viewing among younger audiences is a massive opportunity—it’s an invitation to create entertainment that people actually choose to watch. Here’s how to approach it.

 

1. Think like a creator, not an advertiser. Traditional pre‑rolls and mid‑rolls will not cut it when your audience can skip or pay to avoid them. YouTube thrives on algorithm‑driven discovery, so brands need to produce content that is inherently engaging and shareable. This could be episodic storytelling, behind‑the‑scenes access, or influencer collaborations. Because kids and parents often co‑view, aim for content that appeals across generations[kidscreen.com].

2. Use YouTube as your “funnel” platform. With 20 % of children and a growing share of over‑55s going straight to YouTube when they turn on their TV[ofcom.org.uk], the platform is ideal for top‑of‑funnel brand discovery. Brands should launch digital IP's—short episodes, live content and YouTube optimised formats—that proves the appetite and drives audiences toward deeper engagement elsewhere. The fact that 34 % of YouTube viewing now occurs on TV screens, rising to 45 % among kids[ofcom.org.uk], means that YouTube content increasingly shares the living‑room context once reserved for broadcast ads.

 

3. Tell bigger stories on Netflix. Netflix’s strength lies in premium, long‑form content. Product placement, sponsorship of original series, and co‑productions can embed brands into cultural conversations. Because Netflix still commands half of SVoD viewing time[ofcom.org.uk] and features blockbuster films that generate tens of millions of views[kidscreen.com], it offers a unique opportunity to associate your brand with 'prestige' narratives. The catch is that Netflix maintains strict creative control and is somewhat a gatekeeper; brands must collaborate early in the production process to ensure natural integrations.

 

4. Leverage data‑driven targeting and measurement. The precise metrics available on digital platforms allow brands to optimise content in real time. On YouTube, for instance, you can track completion rates, engagement, and demographic breakdowns to refine your creative. The high ad recall (68 %) and purchase influence (35 % of parents buying items advertised on YouTube) show that performance metrics matter big time[kidscreen.com]. On Netflix, shared generic audience insights can inform product placement strategies and promotional timing.

 

5. Invest in family‑friendly franchises. Family content drives both YouTube engagement and SVoD subscriptions. According to Kidscreen, family films like Minions: The Rise of Gru (13.7 million views on Netflix) and the sing‑along version of Moana (11.5 million views on Disney+) were top performers[kidscreen.com]. Ofcom also reports that kids’ programming is one of four genres responsible for 96 % of switches to streaming platforms[dxglobal.com]. Brands should therefore seek partnerships with branded entertainment studios like https://www.magixentertainment.com/, especially, toy companies and kid‑centric brands.

 

Strategising for the post‑platform world

The Ofcom report’s most profound message is that platform distinctions are dissolving. People no longer say they’re “watching YouTube” or “watching TV”; they are simply watching content on the biggest and most convenient screen. Younger audiences in particular crave flexibility, immediacy and choice[ofcom.org.uk]. For brands, this means designing experiences that transcend individual platforms.

 

One approach is to create modular storytelling. Develop a central narrative arc that can be broken into short chapters for YouTube and expanded into longer episodes or films for Netflix or BVOD long term. Use interactive elements—polls, comments and user‑generated challenges—to engage audiences on YouTube and then drive them to deeper content experiences on subscription platforms or through other digital products. By mapping each touchpoint, you can create a seamless journey from awareness to immersion and a conversion.

 

Moreover, recognise that audio is part of the opportunity. Ofcom’s report notes that YouTube and Spotify are the most popular online audio services; 47 % of adults use YouTube for audio compared with 36 % for Spotify[ofcom.org.uk]. Podcasts and music streaming are growing, particularly among 15‑34‑year‑olds, who spend 58 % of their weekly listening time with streamed music and podcasts, almost double the average[ofcom.org.uk]. Brands can expand their entertainment portfolios by producing branded podcasts or sponsorships that complement video campaigns.

 

Finally, don’t abandon broadcast entirely. Live events still galvanise millions[advanced-television.com], and public service broadcasters maintain high satisfaction levels, with about seven in ten viewers rating them positively[ofcom.org.uk]. Rather than treating broadcast and streaming as separate silos, consider an integrated approach where linear TV drives anticipation for streaming content and vice versa.

 

Final thoughts

The traditional advertising playbook no longer works in a media landscape where less than half of young adults watch broadcast TV weekly and a growing share head straight to YouTube[ofcom.org.ukofcom.org.uk]. Yet the underlying impulse—people’s desire for stories, connection and information—has not changed. The difference is that those stories are now delivered through a mosaic of platforms, each with distinct strengths and less gatekeepers preventing smaller studios from reaching a mass audience.

 

In this context, YouTube is the “King” of streaming. It commands immediate attention, drives discovery across all ages and devices, and offers brands unmatched reach[ofcom.org.uk]. Netflix is the “Queen.” It reigns over premium content and continues to set cultural agendas[ofcom.org.uk]. Brands that ignore either platform risk missing where audiences live and where new habits are formed.

 

The decline of broadcast TV should not inspire panic but creative ambition. It means brands must become producers, not just advertisers. They must craft experiences that work natively on YouTube’s algorithm‑driven feed and Netflix’s curated library, while also respecting the enduring power of live television. Those who master this new entertainment-first choreography will not only survive thenew media shift; they’ll be invited into the living rooms, mobiles and headphones of the next generation of consumers.