The FAST (Free Ad-Supported Streaming Television) environment is booming, and all studies and analyses anticipate that it will continue to grow. This evolution demonstrates television’s ability to reinvent itself

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Charles Darwin (1809–1882), the English naturalist, published the first edition of his work On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life in 1859. In its sixth edition, published in 1872, the title was changed to a shorter version, now widely known by all of us: On the Origin of Species.

And what is the relationship between Darwin’s theory and FAST channels, the main subject of this article? Primarily, that FAST channels serve as an example of how television, since its beginnings, has shared the key principles outlined in On the Origin of Species, with the sole purpose of surviving within the audiovisual industry ecosystem:

• Variation: Throughout its relatively short history, television has made “genetic” modifications in order to endure over time.
• Struggle for existence: Under the premise that resources are limited (technology, financing, talent, etc.), television competes with other disciplines within the audiovisual ecosystem: radio, cinema, video, the internet, smartphones, and more.
• Natural selection: Television, through successes and failures over the course of its development, forges a “better” version of itself at each moment in its history.
• Adaptation and speciation: Significant changes give rise to a constantly “new” television at different moments or cycles, enabling its survival over time.
• Common ancestor: Everything that is considered television today still retains the principles and criteria of what gave rise to the television medium. Television therefore has its own “evolutionary tree”.

Today, we talk about FAST TV channels, but we have clearly arrived here through the constant adaptation and survival of this invention, technology, or means of communication: from the first moving images achieved in the 1920s, to streaming, FAST channels, and today’s interactive television; including the first public broadcast (John Logie Baird in 1925), the first mechanical television in 1926, regular transmissions in London (BBC in 1936), electronic and colour television (USA: NTSC standard in 1954), cable TV (CNN, the first 24-hour news channel in 1980), satellite TV (Canada’s Anik A1 satellite, one of the first commercial communications satellites for television, in 1972), the digitisation of television (Digital Terrestrial Television – DTT – in Europe, United Kingdom, in 1998), and Smart TVs (from 1994 onwards, with the first globally commercial Smart TVs—LG and Samsung—launched in 2007).

The FAST (Free Ad-Supported Streaming Television) environment consists of live, free (non-subscription) internet television channels that operate in the same way as traditional TV

So, what is a FAST TV channel? Quite simply, it is the evolutionary result of traditional television adapting not only in terms of technology, but also in the type of content it programs, its business model and funding, in relation to viewer habits and trends, and, above all, adapting to a globalised online world dominated by major corporate players that own large consumption, leisure, and entertainment platforms.

FAST stands for Free Ad-Supported Streaming Television. In other words, these are live, free (non-subscription) internet television channels that operate like traditional TV. This means that content programming is fixed and linear, decided by the platform itself (rather than by the end user or viewer, as in on-demand content), and includes advertising revenue as its funding model.

FAST channels are also known by the acronym FVOD (Free Video on Demand). This designation, which is somewhat more confusing, brings them closer to Video on Demand platforms, but with different access models, monetisation strategies, and types of content. It is confusing because Video on Demand implies that the end user can access specific content (within an on-demand catalogue) at any time they choose—something that does not happen with FAST channels, where programming is linear, more in line with what we already know from traditional television.

FAST channels are also different from the content platforms launched by traditional broadcasters themselves, where users choose what to watch and when to watch it, such as RTVE Play (TVE Spain), Infinity (Mediaset Spain), Atresplayer (Atresmedia Spain), Globoplay (Globo Brazil), Paramount+ (CBS, USA), Peacock (NBC, USA), MYTF1 (TF1, France), among others.

Therefore, FAST channels represent traditional thematic digital television updated for a market in which technology and users drive the trend toward internet-based television. For the broadcast sector, this implies the emergence of a new distribution channel at a lower cost than DTT; the generation of brand safety, which allows brands to be protected within the advertising environment through greater audience segmentation based on thematic content; and the ability to obtain more accurate and precise end-user data (audience data or audience metrics).

FAST represents traditional thematic digital television updated for a market in which technology and the user set the trend, with a clear focus on internet-based television

Finally, the relationship between the end user and the FAST platform enables greater loyalty between the two, generating longer viewing times and, therefore, higher retention and audience stickiness around this type of content.

With regard to the type of content programmed by a FAST channel, it is quite broad, with a strong predominance of thematic content under different labels: films, TV series, children’s programming, documentaries, news, sports genres, music, lifestyle, entertainment, and more, whether international, national, or local in scope.

This specialisation of FAST channels, together with their availability across multiple devices and platforms, has driven their success and expansion: Smart TVs (which come with pre-installed applications such as Pluto TV, Tubi, or Samsung TV Plus); streaming devices such as Roku, Amazon Fire Stick, and Apple TV; as well as mobile devices, computers, and tablets.

The list of FAST channels continues to grow and become more widely recognised:

• PLUTO TV (Paramount Global, formerly ViacomCBS): more than 250 linear channels, available in the United States, Europe, Latin America, and beyond, including agreements with third-party services such as Google TV.
• RAKUTEN TV, owned by the Japanese conglomerate Rakuten Group, Inc., primarily known for its e-commerce platform and digital services. It operates in more than 40 countries across Europe and Asia. The service was initially launched in Spain as Wuaki.tv and acquired by Rakuten in 2012. It offers more than 500 channels, approximately 100 of which are owned and operated by Rakuten TV.
• THE ROKU CHANNEL, owned by Roku, Inc., a US company best known for its streaming devices (set-top boxes and TVs with Roku built in).
• TUBI (Fox Corporation): very popular in the United States, with more than 250 channels.
• FREEVEE (Amazon): originally launched as IMDb Freedive, later renamed IMDb TV, and rebranded as Freevee in April 2022. From 2025 onwards, its independent brand was retired and all channels and content were integrated into Prime Video under the “Watch for Free” section with ads (no Prime subscription required). It offers more than 750 channels, around 50 of which are managed directly by Amazon.
• XUMO PLAY, owned by Comcast Corporation, one of the largest telecommunications and media companies in the United States. It offers more than 200 channels.
• PLEX, owned by Plex, Inc., an independent US company initially known for its media server software, offering around 200 channels globally.
• SLING FREESTREAM, owned by Sling TV L.L.C., a division of DISH Network / EchoStar Corporation in the United States. It offers more than 600 channels as of 2025.
• VIX, owned by TelevisaUnivision, the world’s largest Spanish-language media group. It offers more than 100 linear programming channels and has agreements with external partners such as Amazon Freevee.
• WAIPU.TV, operated by Exaring AG, a German technology company in which Freenet AG is the main shareholder. It offers more than 300 channels, including around 70 optional paid channels.
• RLAXX: originally German, Rlaxx TV GmbH has since been acquired by ZEASN Technology Private Ltd., integrating the service into its global portfolio alongside platforms such as Foxxum. It offers more than 100 channels across various content categories.
• SPORTSTRIBAL TV, owned by SportsTribal, a private technology startup focused on sports streaming.
• VIRGIN TV, the result of Virgin Media and O2 (Virgin Media O2) in the UK, includes a collection of FAST channels within its offering, with new additions and partnerships with providers such as Pluto TV, Rakuten TV, and Stingray, among others.
• VIZIO WATCHFREE+, owned by hardware manufacturer Vizio, offers more than 300 free live TV channels accessible without subscription, integrated into Vizio televisions and its mobile app.
• SAMSUNG TV PLUS, one of the largest FAST platforms worldwide, is integrated directly into Samsung TVs and other compatible devices. Its approximately 3,500 channels include free, ad-supported linear programming (news, sports, entertainment, films, series, children’s content, lifestyle, languages). Availability varies by country depending on market and licensing agreements.
• LG CHANNELS, integrated into LG Electronics Smart TVs, is accessible from the webOS home screen and via the LG remote control. Globally, it offers more than 4,000 channels in markets where the service is available, through agreements with multiple content providers.
• MiTV+, available on Xiaomi Smart TVs, offers 240 linear channels.

One trend we are observing is that online content creators and influencers are increasingly viewing FAST channels as a new window for reaching their audiences. One example is Curiosity Now, available on Samsung TV Plus. In addition, traditional streaming (VOD) platforms are also adopting the FAST model—for example, within Prime Video—while some traditional DTT channels are migrating to online distribution via FAST (such as Paramount Network, which has closed its DTT service and now continues via Pluto TV).

One trend we are observing is that online content creators and influencers are looking to FAST channels as a new window for reaching their followers

By country, the audiovisual FAST market is currently dominated by the United States, the United Kingdom, Germany, and Italy. Spain is Europe’s leader in FAST consumption, with around 35% of online adults watching FAST each month. FAST market revenues in Spain are expected to nearly double in the coming years, rising from around $32 million in 2025 to approximately $65 million by 2030 (source: Omdia, Informa TechTarget, Content London 2025).

Spain has experienced a very strong increase since the launch of FAST channels in 2022, becoming Europe’s FAST consumption leader in less than three years (by 2025). The user profile within a very specific socio-economic context has driven this expansion: a strong tradition of consuming free (ad-supported) content and linear viewing habits typical of traditional television (known in English as “turn on and see” or “switch on and see”).

In the rest of the world, the FAST market is growing at a more moderate pace due to the specific economic, social, and industrial characteristics of each audiovisual market, although South Korea, Japan, and India stand out. In China, the market is still young and emerging, dominated by VOD and streaming platforms such as iQIYI, Tencent Video / WeTV, Youku, and Bilibili. Interestingly, China Global Television Network (CGTN), part of China Media Group (CMG), has launched three specialised FAST channels—CGTN Global Biz, China Travel, and Discovering China—aimed at international audiences and distributed via global FAST platforms. This shows that Chinese media companies are beginning to adopt FAST formats for international audiences.

All studies and analyses conducted to date confirm continued growth in FAST channels in the coming years (sources: Omdia, FAST TV Market & Spain Focus; Nielsen / Gracenote Data Hub, FAST Momentum Continues and Beyond Nostalgia: Tracking FAST Channel Evolution and the Opportunities for Platforms and Advertisers; Rakuten TV, Unlocking New Audiences; Kantar, Media Reactions 2025).
From a technological perspective, FAST channels represent the natural integration of traditional television into the internet environment, driven by Smart TV sales. FAST channels are IP-based linear TV channels, using unicast distribution (one sender transmitting data to one specific receiver). The most commonly used input video formats are MXF, ProRes, XDCAM, and high-quality MP4, sourced from VOD libraries, live feeds, or scheduled 24/7 playlists.

By country, the audiovisual FAST market is currently dominated by the United States, the United Kingdom, Germany, and Italy. Spain is Europe’s leader in FAST consumption

H.264/AVC and AAC-LC are the main standards used for encoding and transcoding FAST channel content at 720p and/or 1080p. In terms of streaming protocols, HLS (HTTP Live Streaming) is the most widely used due to its universal compatibility and adaptive bitrate (ABR) capabilities. Advertising insertion is based on the SSAI (Server-Side Ad Insertion) model, with VAST (Video Ad Serving Template) and OpenRTB (Open Real-Time Bidding) as the predominant protocols.

Twenty-five years elapsed between the first edition of Charles Darwin’s well-known text (1859) and the origins of television (Paul Nipkow’s disc in 1884). Applying the premises outlined by Darwin within his field of research allows us to observe and analyse what television represents today.

Television is the engine of the audiovisual industry due to its global content production capacity (both in volume and diversity), its ability to generate employment (direct and indirect), its industrial structure, its constant technological innovation, and, of course, its reach and presence in every country, connecting with all types of audiences and users.
The lion, bear, wolf, and elephant are kings of the land ecosystem; the great white shark, blue whale, and orca rule the seas; and in the air, species such as the peregrine falcon, the harpy eagle, and the Andean condor dominate.

Television is the queen of the audiovisual ecosystem, and FAST channels demonstrate its ability to reinvent itself.

From a technological point of view, FAST channels represent the natural integration of traditional television into the internet environment, driven by the sales and penetration of Smart TVs