The upcoming World Cup will mark a significant shift in broadcasting dynamics, as the rivalry between the BBC and ITV, which has defined football coverage since 1966, takes a backseat this summer.
In a unique twist, the tournament, featuring 48 teams and hosted across three nations, will emerge as a global media spectacle. For the first time, platforms like YouTube and TikTok will showcase live matches, while Netflix is set to introduce a daily program called Gary Lineker’s The Rest is Football, relocating the podcast to Times Square for almost six weeks.
Lineker, a former presenter of Match of the Day, will kick off the inaugural episode with regulars Alan Shearer and Micah Richards, available in the UK from 6am on Wednesday. Notable guests, including Harry Maguire, Frank Lampard, and Patrick Vieira, are slated to join as the tournament unfolds.
Richards has humorously referred to the impending “podcast wars” of the World Cup, particularly as his Sky Sports colleague Gary Neville’s Stick to Football will also set up shop in New York during the tournament. However, Netflix’s investment in The Rest is Football represents a pivotal moment, potentially elevating the podcast to new heights with a broader audience reach.
The streaming giant has committed £14 million for 40 daily episodes, which will not only include interviews and reports from various venues but also the usual football discussions, driven by concerns over losing viewership during the World Cup.
In contrast, Stick to Football appears to have scaled back its ambitions. Following a few shows on ITV during Euro 2024, Neville’s banter-filled program featuring Ian Wright, Roy Keane, and Jill Scott will now be limited to just 12 episodes on YouTube due to their ITV commitments.
At the heart of this podcast rivalry is Netflix’s growing interest in live sports, having secured exclusive rights for the next two Women’s World Cups, strengthening its ties with FIFA. “Netflix needed a strategy to engage World Cup audiences since they lack live game coverage,” explains Tony Pastor, co-founder of Goalhanger, the production company behind The Rest is Football, which boasts over 70 million monthly downloads across its 14 shows.
Pastor adds, “They aim to be part of the World Cup dialogue and offer daily content to encourage viewers to tune in regularly instead of abandoning the channel for six weeks.”
With the substantial investment, Lineker and his team face pressure to deliver impressive viewership numbers, but the seasoned presenter, who has hosted live broadcasts for the BBC at six World Cups and participated in two as a player, is well-prepared.
The entire media landscape will be closely monitoring Netflix’s developments. Any shift towards increasing football content, moving away from its focus on standalone events like Major League Baseball’s opening night and NFL’s Christmas Day game, could have significant repercussions.
“The Rest is Football on Netflix is intriguing,” remarks Alex Kay-Jelski, director of sport at the BBC. “If it succeeds on a major streaming platform, it will mark a noteworthy advancement.”
The BBC’s World Cup strategy is more restrained, with coverage originating from Salford until the final week. Presenters Kelly Cates, Gaby Logan, and Mark Chapman will share hosting responsibilities.
As the BBC undergoes a redundancy program that will result in approximately 2,000 job losses, financial limitations have played a role in shaping its approach, along with environmental considerations.
The focus will be on sustainability and long-term investment in its offerings, showcasing a new studio launched this week and a variety of digital services aimed at engaging a younger audience.
Pundits like Wayne Rooney are expected to add excitement to the TV coverage, while Thomas Frank will make his first media appearances since his dismissal by Tottenham, generating buzz.
“We’ve created a 24/7 World Cup content machine, more interconnected than ever,” Kay-Jelski states. “There will be something for everyone, from live TV broadcasts and Radio Five to YouTube shorts, news coverage, analysis, and interactive World Cup games.”
“If we had a £200 million budget, perhaps we would have approached this differently. However, we are satisfied with our current position. Our focus extends beyond a six-week tournament; we must invest in the long term. The new studio will benefit Match of the Day, leaving a lasting legacy from the World Cup,” he continues.
“I’m unsure where we would have set up had we opted for a studio abroad. There were arguments for locations like Miami, LA, New York, or Mexico City. Given the expansive nature of the tournament, I’m comfortable starting from the UK.”
ITV, on the other hand, is adopting a more traditional strategy, with its team led by Laura Woods and Mark Pougatch stationed in New York. Niall Sloane, ITV’s director of sport, will be attending his 11th World Cup, four decades after his debut, which involved operating a camera behind the goal at the Azteca Stadium during Diego Maradona’s infamous ‘Hand of God’ goal. “That was an intense 20 minutes,” he recalls with a grin.
Sloane expresses concern over the overwhelming amount of football on television, particularly with the tournament’s expansion to 48 teams and the increase from 64 to 104 matches, a development he does not welcome.
ITV plans to air 51 matches compared to the BBC’s 54, with both networks sharing the final. ITV is set to have a strong start, broadcasting Thursday’s opening game between Mexico and South Africa, along with England’s first match against Croatia next Wednesday. The BBC appears to be banking on Thomas Tuchel’s team advancing far into the tournament.
ITV has secured rights to three quarter-finals, including the first two choices, while the BBC will select the first semi-final and cover England’s matches in the Round of 32 and 16, should they qualify.
While the BBC is likely to dominate the ratings, the World Cup presents a crucial commercial opportunity for ITV at a time when its acquisition by US media giant Comcast, which owns Sky, is nearing completion.
ITV’s audience of 10.2 million for England’s Women’s Euro 2025 semi-final victory over Italy was its largest of the previous year, a figure expected to be surpassed this summer.
“We’ll produce a lot of shorter content, but it will take time before we lose the essence of two 45-minute halves,” Sloane notes. “As sports popularity has risen, the significance of live events has grown. Few TV programs achieve double-digit viewing figures nowadays, but major football tournaments definitely do.”
“It should be an exciting tournament, but I question whether the additional 16 teams will enhance the experience. Some matches may not meet the expected standards for a World Cup, which concerns me,” he adds.
Considering the packed schedule, with 40% of matches kicking off after midnight in the UK, FIFA’s new social media initiative seems timely. YouTube and TikTok have obtained rights to livestream the initial 10 minutes of select matches, possibly allowing viewers to drift off before the action truly begins.
