In an unprecedented twist, the fierce rivalry between the BBC and ITV, which has characterized World Cup broadcasts since 1966, will take a backseat this summer. Instead, the spotlight shifts to a broader media landscape as the tournament, featuring 48 teams across three nations, transforms into a global spectacle.
This World Cup marks a significant evolution in broadcasting, with platforms like YouTube and TikTok set to stream live matches for the first time. Meanwhile, Netflix is making waves with a daily series, Gary Lineker’s The Rest is Football, moving its production to Times Square for nearly six weeks.
Lineker, a former Match of the Day host, will kick off the show alongside regulars Alan Shearer and Micah Richards, with the first episode launching at 6 am in the UK on Wednesday. Anticipation builds as high-profile guests, including Harry Maguire, Frank Lampard, and Patrick Vieira, are scheduled to appear later in the tournament.
Richards humorously referred to the impending “podcast wars,” as his Sky Sports colleague Gary Neville’s Stick to Football will also broadcast from New York during the event. However, Netflix’s involvement is poised to elevate The Rest is Football to new heights, reaching a significantly larger audience.
The streaming giant has invested £14 million in 40 daily episodes, which will not only include interviews and reports from various venues but also the usual football discussions, aiming to retain viewers who might otherwise drift away during the World Cup.
In contrast, Stick to Football seems to have scaled back its ambitions. After airing some episodes on ITV during Euro 2024, Neville’s lighthearted banter with Ian Wright, Roy Keane, and Jill Scott will now be limited to YouTube, with only 12 episodes planned due to ITV commitments.
This podcast battle reflects Netflix’s increasing interest in live sports, bolstered by its exclusive rights acquisition for the next two Women’s World Cups.
“Netflix needed a way to attract a World Cup audience since they lack live game rights,” explains Tony Pastor, co-founder of Goalhanger, the production company behind The Rest is Football.
“They aim to engage in the World Cup dialogue and provide a daily offering, ensuring viewers have a reason to tune in regularly.”
Given the scale of Netflix’s investment, Lineker and his team face pressure to deliver impressive viewership numbers. However, the experienced presenter, who has covered six World Cups for the BBC and played in two, is more than capable of rising to the challenge.
The industry will be keenly observing Netflix’s moves, as any expansion into football content could significantly alter its sports programming, which has traditionally focused on standalone events such as Major League Baseball and NFL games, as well as entertainment crossovers like WWE and celebrity boxing.
“The Rest is Football on Netflix is intriguing,” remarks Alex Kay-Jelski, the BBC’s director of sport. “If the show performs well on a major streaming platform, it could represent a pivotal development.”
Meanwhile, the BBC’s plans for the tournament are more conservative, with its coverage originating from Salford until the final week. Presenters Kelly Cates, Gaby Logan, and Mark Chapman will take turns hosting the shows.
Financial constraints, exacerbated by a redundancy scheme affecting around 2,000 BBC employees, have influenced the broadcaster’s approach. Environmental factors also play a role in its strategy.
Focusing on sustainability, the BBC is committed to long-term investments in its offerings, highlighted by the opening of a new studio this week and a suite of digital services aimed at engaging younger audiences.
Expect pundits like Wayne Rooney to add excitement to the TV coverage and anticipate headlines from Thomas Frank’s initial media appearances following his dismissal from Tottenham.
“We’ve established a 24/7 World Cup content machine that is more integrated than ever,” Kay-Jelski states. “There will be a variety of options available, from live TV coverage and Radio Five to YouTube shorts, news analyses, and interactive World Cup games.”
“With a £200 million budget, perhaps we could have pursued a different strategy, but we are satisfied with our current position. Our focus can’t be solely on a six-week event; we must invest for the future. The new studio will also benefit Match of the Day, establishing a lasting legacy from the World Cup.”
Discussions about potential locations for broadcasting were varied, with Miami, LA, New York, and Mexico City all considered. Ultimately, the decision to base operations in the UK, at least at the outset, feels appropriate given the tournament’s complexity.
Taking a more traditional route, ITV’s team, led by Laura Woods and Mark Pougatch, will operate from New York. Niall Sloane, ITV’s director of sport, is attending his 11th World Cup, four decades after his debut, which included filming behind the goal at the Azteca Stadium during Diego Maradona’s infamous ‘Hand of God’ goal.
“That was a hectic 20 minutes,” he recalls with a grin.
Sloane expressed concerns about the overwhelming amount of football on television, particularly with the World Cup expanding to 48 teams and increasing from 64 to 104 matches, which he does not view as a positive development.
ITV will broadcast 51 matches compared to the BBC’s 54, with both networks sharing the final. ITV is set for a strong start, featuring the opening game between Mexico and South Africa this Thursday, along with England’s first match against Croatia next Wednesday. The BBC seems to be banking on Thomas Tuchel’s side progressing far into the tournament.
ITV has secured rights to three quarter-finals, including the first two choices, while the BBC retains the first pick of the semi-finals and will showcase England’s matches in the knockout stages, assuming they qualify.
Despite the BBC likely taking the lead in audience ratings, the World Cup presents a significant commercial opportunity for ITV, particularly as it nears the completion of its acquisition by the U.S. media giant Comcast, which owns Sky.
ITV’s audience for England’s Women’s Euro 2025 semi-final victory over Italy reached 10.2 million, its highest figure of the previous year, a benchmark that should be easily surpassed this summer.
“We’ll be producing a wealth of shorter content, but the significance of two 45-minute halves will remain for a while longer,” Sloane explains. “As the popularity of sports has surged, the value of live events has risen accordingly. Few TV shows achieve double-digit viewing figures nowadays, but major football events certainly do.”
“It’s set to be an exciting tournament, though I question the value added by the extra 16 teams. Some matches may not meet the World Cup standard, which is somewhat concerning. There’s a fair amount of excess.”
In light of the packed schedule, with 40% of matches kicking off after midnight in the UK, FIFA’s new social media strategy appears timely. YouTube and TikTok will livestream the first ten minutes of selected matches, though many viewers might have already drifted off by then.
