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Reading: BBC Bets On British Die-Hards With Relaunch After Foxtel Exit
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B&T > Media > BBC Bets On British Die-Hards With Relaunch After Foxtel Exit
Media

BBC Bets On British Die-Hards With Relaunch After Foxtel Exit

Aimee Edwards
Published on: 3rd June 2025 at 11:18 AM
Aimee Edwards
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The BBC is doubling down on its faith in the pulling power of British television, relaunching its Britbox streaming service with new shows, improved tech, and the addition of three live channels, a major shake-up that arrives just a year after it took full control of the platform and months after pulling four BBC channels from Foxtel.

From this month, Britbox Australia will stream Agatha Christie’s Towards Zero, Outrageous, Fear and Death Valley, alongside returning fan favourites Shetland, The Bay, Call the Midwife, Death in Paradise and Silent Witness. The overhaul also introduces three new live broadcast channels, BBC First, BBC Entertain and BBC Select, and a new user interface.

“We position ourselves as the complementary service to the big general players,” said Moira Hogan, executive vice president of international markets and general manager of Britbox Australia.

“We stick to our knitting. We stick to being a speciality service. We have a distinct British proposition. Consumers know what they’re getting. We’re a core British crime, mystery, light entertainment and documentary service.”

That focus on speciality is key to Britbox’s strategy in Australia, a market dominated by global giants like Netflix, Amazon Prime Video and Disney+. While those platforms compete on breadth, Britbox is betting on depth, specifically, deep affection for British storytelling.

“Speciality is a real strength. We’re delivering quality British entertainment. It’s an ad-free environment. We are a targeted British streaming service,” Hogan added. “We’re expanding variety, adding three linear streaming channels, increasing the download limit and adding 4K content from August,” Hogan said.

“These shows [Death in Paradise, Call The Midwife and Silent Witness] have a huge resonance with Australian audiences and, together with other exciting new and exclusive titles like The Jetty, will drive further growth for BritBox. We are also acquiring more of the most recent seasons of these titles as we build up our collections,” said BritBox and branded services ANZ, Sarah Kenny last year.

Britbox launched in 2017 as a joint venture between BBC Studios and ITV, but last year the BBC bought out ITV’s 50 per cent stake for around $532 million (AUD), giving it full ownership of the service.

That shift set the stage for the current relaunch and a more aggressive streaming-first strategy, particularly after the BBC pulled four of its channels, BBC News, BBC Earth, BBC First and CBeebies, from Foxtel mid 2024.

In a statement at the time, Foxtel said the group “regularly review the content mix across our platforms and works with our content partners to reduce content duplication and ensure we are providing our customers a selection of quality content across multiple genres based on their preferences”.

Britbox is still relatively small with only around 4 million subscribers globally and an estimated 500,000 in Australia, according to Telsyte data from June. Despite this, it was also the fastest-growing streaming platform in the country last financial year. The service costs $13.99 a month or $139.99 annually.

“I’m lucky I don’t have to chase a subscriber target,” Hogan said. “We’re hitting our milestones. We think there’s still plenty of appetite, particularly in our core service”.

Telsyte categorises Britbox within the 3.7 million “other” subscriptions in Australia that sit outside the dominant platforms, including Netflix, Stan, Disney+, Kayo Sports, and Binge.

But while Britbox is carving out a niche, competition for British content is fierce. Even Netflix has made significant inroads, with its British coming-of-age series Adolescence ranking among the most-watched English-language series of all time on the platform.

Still, with its sharper focus, BBC backing, and an audience that knows what it wants, Britbox is hoping its understated, distinctly British charm can stand firm in a high-stakes streaming war.

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Aimee Edwards
By Aimee Edwards
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Aimee Edwards is a former contributor at B&T, where she reported on media, advertising, and the broader cultural forces shaping both. Her reporting covers the worlds of sport, politics, and entertainment, with a particular focus on how marketing intersects with cultural influence and social impact. Aimee is also a self-published author with a passion for storytelling around mental health, DE&I, sport, and the environment. Prior to joining B&T, she worked as a media researcher, leading projects on media trends and gender representation—most notably a deep dive into the visibility of female voices in sports media. 

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