[Requested by X user ReubenPaul_11, with insights from Gian Paolo dela Cruz]
WHEN THE REQUESTER mentioned “Salamat po, ang pogi mo!”, he meant not from a heartthrob actor in a primetime teleserye, but from a pirated stream blaring out on the comment section that could appear over the airwaves.
This previously unimaginable scenario now looms as a possible reality in the country. Illegal streaming poses a significant threat to the struggling traditional linear TV industry, which has already been hit by recent setbacks such as CNN Philippines’ shutdown and the emergence of RPTV; Sky Cable’s impending closure on the 26th; and the prolonged delay of the digital television transition (DTT), despite Brigada’s efforts to sell their branded set-top boxes.
But before we drown in a sea of pirated telenovelas and dubbed anime, let’s dive into the murky waters of this phenomenon and understand its ripples on the broadcasting industry.
Piracy’s Perfect Playground
The Philippines has become a hotspot for illicit streaming, thanks to lax copyright enforcement, increased internet usage post-pandemic, the fallout from ABS-CBN’s franchise denial, CNN Philippines’ sudden disappearance, widespread smartphone ownership, and low-cost data plans.
With that, piracy has evolved from physical disks sold in clandestine bazaars in Quiapo to torrent sites, and it is now widespread on social media platforms such as Facebook.
Coupled with our love for entertainment and preference for teleseryes and foreign content, alongside a growing politically-induced skepticism towards mainstream media, this environment fosters rampant piracy.
The Allure of the “Libre”
Price is the primary accomplice to piracy. Compared to the perceived burden of monthly cable or pay TV fees, illegal streaming provides a tantalizing selection of free movies, shows, and sporting events. The abundance of entertainment comes at the cost of some intrusive pop-up ads and potential malware threats, but for residents in remote areas with limited cable access, it’s an irresistible offer.
Death by a Thousand Clicks
The impact on our domestic broadcasters is unmistakable. Advertising income, crucial for TV networks, suffers a significant blow — even though GMA is on top since 2020, the reported revenue was slashed in 2022 (despite the election advertising).
With high-definition versions of popular programs readily accessible online, there’s little incentive to subscribe to cable or endure commercials. This loss of revenue strains station finances, affecting production standards, talent recruitment, and ultimately, the quality of content. Envision a scenario where local television devolves into budget-conscious repeats and low-quality public service announcements, a stark departure from the dynamic dramas and reality shows that once adorned our screens.
During one instance, Kapuso Mo, Jessica Soho was delayed in having an official livestream due to the Boy Gcash group’s attempt to monetize it.
Content is King, but Piracy is Queen
Since 2020, the first half of phrase has echoed as a rallying cry for supporters and sympathizers of their beloved media entity, yet nearly four years on, transitioning to a new business model remains financially challenging. The return on investment (ROI) and advertising revenue dynamics in streaming differ significantly from traditional broadcasting.
However, when piracy enters the conversation, the tone shifts considerably.
Traditional TV networks, once dominant in the entertainment landscape, now face a content crisis. Even with efforts by GMA, TV5, and NET25 to match the quality of the former powerhouse, they find themselves in an internal state of panic. The era of predictable programming and limited choices is fading.
Viewers, accustomed to the personalized experience of streaming, no longer find satisfaction in traditional TV’s reruns and reality shows.
In contrast, illegal streaming sites cater to a wide range of tastes, from K-dramas to obscure documentaries. They provide early access to new releases, making traditional TV slow in comparison to high-speed streaming options.
The Erosion of Trust
The surge in illegal streaming goes beyond content; it erodes trust.
When audiences find their beloved shows pirated online, it shakes their confidence in the networks behind them. The mindset shifts to, “Why pay for what’s available free?” This loss of trust not only diminishes revenue but also discourages investment in local content. Why fund original programming when it’s susceptible to piracy and can be accessed freely?
In the Sports Scene
As far as the requester’s interest is concerned, sporting events are now available for streaming, with many international events acquired by platforms such as Apple+, Prime Video (though available here, they don’t offer sports right now), Pilipinas Live, and others. These platforms frequently offer exclusive content at prices that may be out of reach for budget-conscious fans. Furthermore, some platforms geographically restrict (geoblock) events to specific territories, and exclusive deals with other paid streaming services may apply. This shift to streaming has presented a challenge to traditional linear sports broadcasters, diverting revenue away from them.
Beyond the Bottom Line
But it isn’t just about money. Piracy erodes the cultural fabric established by local programming. Shared laughter over comedy shows, heated debates sparked by political talk shows, the experiences of watching a sport they passionately love and collective anticipation for the next twist in a teleserye are all examples of shared experiences that bring us together. Illegal streaming threatens to replace these shared experiences with algorithm-driven, individual content consumption. We risk losing stories about our own lives, voices with our own accents, and characters who represent our society.
The Plot Twist: An Unexpected Hero?
Despite the obstacles, a ray of hope shines through. Ironically, illegal streaming may serve as a wake-up call for traditional broadcasters, indicating the changing media landscape and the need for innovation. Embracing on-demand platforms, strengthening local content, and forming alliances with global streaming behemoths could change the narrative. Consider Filipino productions dominating Netflix rankings (think “Replacing Chef Chico”) and local talent gaining international acclaim. The future of broadcasting looks promising, but it depends on embracing change rather than resisting it.
Saan tayo patungo? (Where are we headed?)
Our broadcasting’s future hangs in the balance, like a carabao navigating a flooded rice paddy. The solution does not involve strict anti-piracy laws or internet shutdowns; rather, it is about adaptation and innovation. Traditional broadcasters must evolve by providing flexible viewing options, personalized recommendations, and exclusive local content to become Kapuso Land’s Netflix (I think they did on their YouTube channels, apart from the Viu partnership) and the barrio’s HBO.
Yet, the burden of responsibility isn’t theirs alone. Viewers must also play a part. Recognizing the value of content creation and supporting local productions through subscriptions, and reporting piracy websites are crucial steps in preserving a healthy broadcasting ecosystem. (I think GMA has done this advocacy last year.)
So, the next time you’re tempted to say “Salamat po ang pogi mo” to a grainy and lagging pirated stream, let’s remember the creators behind the scenes—the writers, actors, and crews—who pour their hearts into the content we cherish.
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