BBC To Launch Original Shows On YouTube In 2026

In a move that could reshape the British broadcasting landscape, the BBC is preparing to produce original shows for YouTube, marking a significant shift in how the public service broadcaster reaches its audience. The landmark deal, which could be announced as early as the week of January 17, 2026, comes as the BBC faces mounting pressure to remain relevant with younger viewers, who are flocking to digital platforms in ever greater numbers. According to the Financial Times—and confirmed by sources speaking to Deadline—the BBC’s content will premiere on YouTube, with the potential for later release on BBC iPlayer or BBC Sounds.

For decades, the BBC has been a cornerstone of British culture, funded by the licence fee and seen as a gold standard for public service broadcasting. But the media world is changing fast. In December 2025, YouTube overtook the BBC on a key metric of audience reach, drawing 51.9 million UK viewers compared to the BBC’s 50.8 million, as measured by UK ratings body Barb. While the BBC still leads in terms of viewers who tune in for 15 minutes or more—and maintains a stronghold on traditional television—the symbolic moment when YouTube edged ahead has sent shockwaves through the industry.

“The accelerator is full on the floor now and the media industry is changing dramatically. It’s turned out to be YouTube that has driven change,” said Stephen Price, an industry expert on viewing habits, in comments to The Guardian. He noted that the rise of smart TVs has brought YouTube right into the living room, making it a mainstream way to watch content on the big screen. “Partly, there’s a sense of inevitability about this, accelerated perhaps by the arrival of smart TVs meaning it became available to view YouTube on the main TV in living rooms—sort of mainstreamed it,” Price explained.

The BBC’s main YouTube account, which has been active for over 20 years, boasts 15.3 million subscribers and 11.9 billion views, mainly hosting trailers and clips from popular shows like The Traitors. Meanwhile, the BBC News channel on YouTube has 19 million subscribers and 6.6 billion views, offering longer-form journalism and news coverage since 2006. Despite this substantial presence, the BBC has not previously produced bespoke series for YouTube, making this new venture a notable pivot towards digital-first programming.

Behind the scenes, however, the move is not without controversy. There’s an ongoing debate within the BBC about how much content should be placed on YouTube. Some insiders worry that viewers may not realize they’re watching BBC-produced content when it appears on the platform, potentially weakening the broadcaster’s brand. Others are concerned that the partnership could further entrench the dominance of US tech giants like Google (YouTube’s parent company) over British media consumption.

Patricia Hidalgo, the BBC’s director of children and education, has been a vocal advocate for putting more children’s programming on YouTube. She argues that the platform tends to steer young UK viewers toward US-based content, rather than “nourishing” British programming that helps cement their cultural identity. Hidalgo’s push is part of a broader effort to ensure that the BBC continues to play a formative role in the lives of young audiences, even as their viewing habits shift away from traditional television.

The deal also raises thorny questions about funding and the future of the licence fee. The BBC does not carry advertising in the UK, but reports from the Financial Times and The Guardian suggest that it could monetize YouTube originals overseas, potentially providing a new revenue stream to bolster the licence fee. However, some critics worry that using licence fee money to create content for YouTube—where viewers do not need a licence to watch—could lead to cuts in other BBC services. “I wonder what it means for the licence fee, as well. YouTube won’t pay a licence fee, obviously, but they’ll gain a great deal. So what is the licence fee now for? It may also impinge on commercial broadcasters. This relates to overseas viewers, but there are plenty of commercial advertisers around the world who are on YouTube—and now they find the BBC, paid for by the British public, is muscling in,” Price remarked.

The financial details of the partnership remain unclear. The BBC has declined to comment on how it will manage commercial arrangements or fund original YouTube series. Some within the organization are skeptical about the potential for profit, with one insider telling Deadline, “Ultimately, they’ve done this because the youth audience is there—not because it will make any money.”

The BBC is not alone in grappling with these challenges. Channel 4 has already experimented with YouTube originals, commissioning digital dramas and documentaries for the platform. Meanwhile, public service broadcasters across the UK are lobbying for their content to be given more guaranteed prominence on YouTube, arguing that the platform’s algorithms often favor US-based creators and viral trends over homegrown programming. It is not yet clear whether YouTube has agreed to these demands as part of the deal.

Government officials are watching developments closely. Last September, in a keynote speech at the Royal Television Society’s Cambridge Convention, UK culture secretary Lisa Nandy signaled that lawmakers are prepared to change legislation to ensure that YouTube carries public service content prominently. YouTube, for its part, has called such measures “premature,” noting that discussions with public service broadcasters are ongoing.

As the BBC prepares to unveil its YouTube originals, the stakes could hardly be higher. The corporation’s ability to adapt to new media consumption habits will determine its relevance—and perhaps its very survival—in the years ahead. The move is also emblematic of a broader trend: big media names in the US and UK are increasingly launching their own channels and content-creator companies, hoping to carve out a space in the digital ecosystem dominated by platforms like YouTube. This week, for example, BBC Radio 4’s Amol Rajan announced he was leaving the Today programme to set up his own content-creator company, reflecting the growing appeal of independent digital ventures.

The partnership between the BBC and YouTube, if finalized and announced next week as expected, will mark a historic moment for British broadcasting. It signals a recognition that the future of media lies in meeting audiences where they are—on their phones, their laptops, and increasingly, their smart TVs. Whether the BBC can navigate the financial, regulatory, and cultural challenges that come with this new territory remains to be seen. But one thing is clear: the era of digital-first broadcasting has well and truly arrived.