[This translation has been generated automatically]
Claire Basini (E98) is Deputy Chief Executive Officer of the TF1 Group, in charge of steering digital transformation and streaming. She discusses the ambitions of the TF1+ platform, the partnership established with Netflix, and the new challenges linked to artificial intelligence.
What is your role within the TF1 Group?
Viewing habits have evolved significantly: under-50s now consume content in a non-linear way, meaning outside traditional broadcast schedules. In this context, the group has shifted towards digital. My role is to support this transformation. In practical terms, this led to the launch of TF1+ at the beginning of 2024, a free, advertising-funded streaming platform. Two years later, we reach 43 million streamers each month, with advertising revenue growing by 40% per year over the past two years. At the same time, linear channels remain essential, with 30 million daily viewers.
You have announced a partnership with Netflix. Why Netflix specifically?
This is a world first. For the very first time, Netflix will offer its subscribers content that is not its own: our channels and streaming content will be fully integrated into the platform. Netflix holds a unique position in the platform ecosystem, with a segment of subscribers consuming content exclusively via Netflix. This is an audience we struggle to reach. It therefore represents a real opportunity for us. For Netflix, it is a chance to enrich its offering with daily series, news, sport and entertainment content.
What are your development priorities for the TF1+ platform?
In total, our platform brings together 40,000 hours of content: news, documentaries, films, series and cartoons, accessible to all via mobile and web. The first development priority is to expand our catalogue through the acquisition of series and films. The second is opening up to third-party publishers. In recent months, Arte, Le Figaro, LCI and Public Sénat have joined the platform. This is a highly complementary offering that allows us to reach audiences who might not watch TF1 live. Finally, TF1+ delivers an enhanced experience around our flagship programmes. For Star Academy, for example, we offer an exclusive live channel to follow contestants in real time, exclusive interviews, polls, voting features, and access to a merchandising shop.
What is your strategy regarding paid content?
One of our key challenges is to diversify our revenue streams in order to sustainably finance a premium line-up of entertainment and news programmes, in which we invest €1 billion each year. For example, we have recently launched new offers available via micro-payments, with no commitment, tailored to users’ preferences. Users can access our content ad-free, in preview, or exclusively, for less than €1 and without subscription. The goal is not to compete head-on with global paid streaming giants, but to take inspiration from the gaming industry, where highly engaged fans make multiple purchases. The ambition is to further position TF1+ as a destination platform. This new offering is therefore designed to complement existing subscription models and advertising sales, which remain the foundation of the TF1 Group.
Your CEO recently criticised what he described as unfair competition from YouTube. Why?
Competition with YouTube is real: their business model, like ours, is based on advertising. However, we are not competing on a level playing field. On the one hand, groups such as TF1 invest heavily in content, even before generating revenue, and support an entire ecosystem: writers, producers, talent. On the other hand, YouTube operates as a hosting platform: it does not fund content and can therefore offer very low advertising rates. We consider this to be unfair competition. It is a major issue affecting the entire audiovisual sector.
What impact is artificial intelligence having on your sector?
It is a powerful driver of productivity. We are already using it, particularly to adapt our visuals and videos to all screen formats, with very tangible gains. However, as artificial intelligence develops, we remain highly vigilant. Large AI models draw extensively on content produced by media organisations, without always providing clear attribution or a sustainable economic model for publishers. The key question is therefore how AI can respect our role without disintermediating us. This is a real issue for the entire sector. The aim is not to reject these tools, but to establish a framework that ensures respect for the rights of authors and publishers.
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