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Many industry executives look back at the $1 billion copyright infringement lawsuit brought by Paramount (then Viacom) against YouTube in 2007 as a signpost of an era when linear broadcasters and online video platforms just couldn’t play nice, let alone share the same space.

Paramount had accused the online video platform of illegally streaming its shows, and it took seven years and millions of dollars in legal fees before a settlement was reached. Public discourse between U.S. studios and tech giants then became more collegial but discontent remained. Behind closed doors, network execs cursed the growing power, and seeming lack of accountability, of streamers, while many of those at Netflix, YouTube, Prime Video and their kin still saw their linear counterparts as dinosaurs nearing extinction.

As time wore on, relations thawed further and it became no longer uncommon for streaming services to be offered as bundles through pay-TV operators, or to gain prominence on TV set interfaces. Still, for a whole plethora of reasons, the relationship remained uneasy.

However, this year, with the TV ad market in terminal decline and streamers facing subscriber saturation and slowing growth, it appears both sides have almost completely buried the hatchet and are preparing for a future in lockstep. In 2025, top execs from both sides have been shaking hands on partnerships that previously felt unimaginable. A tipping point has been reached, and as Guy Bisson, research director and co-founder at U.K.-based Ampere Analysis, observes, “You can be at the center of it, or beholden to others.”

The deals started with a landmark pact struck between Netflix and French commercial network TF1 at Cannes Lions earlier this year. Hailed as a “new kind of partnership” by Netflix co-CEO Greg Peters, the agreement was the equivalent of NBC or ABC handing over its output, including live channels and sport, to a streaming service.

Beginning in mid-2026, this will be the biggest experiment in television content distribution in some time. Whether the move is about Netflix’s push into ads, gaining a better foothold locally or retaining subscribers — or all three — is yet to be discovered.

A slew of similar agreements followed that June announcement, including Prime Video and France Télévisions partnering locally. This sees five of the pubcaster’s key channels and some 20,000 hours of content from its streaming offering France.TV sitting on the Amazon streamer. France Télévisions CEO Delphine Ernotte Cunci called it a “historic step forward in strengthening the visibility of France.TV’s public service offering, enabling all audiences to rediscover and discover the unique richness of France.TV in new environments.”

France.TV now sits as a rail on the Prime Video France homepage, a sign of the future, right here, right now. What this means for France’s producers and rights holders is also a live question.

Variations on a theme

These French mega-pacts aren’t the only examples of networks and streamers playing nice. Netflix has also struck a deal to bundle with Middle Eastern juggernaut MBC in the MENA region — similar to its pacts in the U.S. and U.K. The rationale there appears to be that MBC’s recently launched aggregator MBCNOW is emerging as a market leader and Netflix rival. So, if you can’t beat ’em, join ’em.

Disney+, meanwhile, has signed branding and content sharing agreements with the U.K.’s ITV, Germany’s ZDF Studios and Spain’s Atresmedia. The House of Mouse is integrating Hulu into Disney+ and launching it as an international title, while bundling new sports streamer ESPN together with rival Fox One in the States. More examples of unexpected partnerships feel certain to emerge.

While the nature and business rationale behind each partnership differs, they’re broadly part of what Ampere terms ‘diagonal integration.’ This is where the broadcaster, faced with a TV ad market in terminal decline, leverages the reach of streaming rivals. In exchange, the streamer — usually a global player — gets the programming expertise of their linear partner, reducing their need to spend on local originals and providing it with a means of distributing local news. With potential regulatory fights to come, this is a potential boon and is a way of circumventing content quotas and other obligations that European countries want to establish.

There’s a growing sense among market watchers that the future is forming in front of our eyes. “We are right on the cusp of the gates opening towards more of these deals,” says Ampere’s Bisson.

“Not a one-way deal”

With change comes uncertainty and much debate has followed the Netflix-TF1 deal at festivals and conferences of late. Are the rights holders of the shows now being carried on additional platforms being compensated? Will linear network ratings be impacted? Who is paying who what? These are just some of the questions on industry execs’ minds. In the analyst community, the rationale partnering stacks up.

“For broadcasters leveraging that local reach of Netflix and other big streamers for local distribution makes absolute sense,” says Bisson. “It also makes absolute sense for Netflix — it’s not a one-way deal. Netflix gets loads of quality local content that, even with its huge budgets, it couldn’t possibly hope to make. This really is a model for others.”

He adds that Ampere research shows streamers are currently commissioning at “75% peak TV” level — a figure that’s unlikely to increase, and so partnering with the biggest local players is an easy way to stock up on new content. “Streamers are still 25% down on originals,” he says. “We’ve not come back from that and we’re not going to, but the interesting thing about these deals is they make your own originals spend slightly less important.”

As for Netflix’s local regulatory position, there’s another potential upside. Global streamers are unlikely to ever step into the waters of local news programming, preferring to leave that to terrestrials and public service networks. As such, some regulators and industry counterparts argue it is then only fair they should pay into a pot that ensures local players have the resources to continue with their news output.

However, French Netflix subscribers will be able to access TF1’s news programming and Prime Video viewers can log on and watch news net France Info right now, helping the streamers’ cause when it comes to crossing regulatory hurdles. Even an “incremental” audience streaming news could be a “strong point” against regulation, says Tom Harrington, head of television at Enders Analysis. “If they can demonstrate that young people have watched news from a platform that they would not have otherwise watched, it’s helpful,” he adds.

Netflix and TF1 are staying largely tight-lipped on the specifics of their agreement, with TF1 declining to comment on this article, while a Netflix spokesperson sticks to the facts after being quizzed on the impacts of the agreement. “Our distribution partnership with TF1 begins in summer 2026, and we’ll be sharing more details as we get closer to launch,” they say.

They have previously partnered on shows such as Les Combattantes and L’Agence, and teamed for the streamer’s first daily drama series in France, Tout Pour La Lumière.

As for the reason the Netflix-TF1 agreement will take a year to kick into gear, we understand it’s down to Netflix ingesting more than 30,000 hours of TF1 programming and readying the five linear channels. One source with knowledge of the deal says the process is about bringing the two different streaming propositions as close together in video quality and user experience as possible. “Netflix is not relying on TF1 at all here,” they say.

Dan Rayburn, the U.S.-based streaming industry analyst, notes that Netflix execs have been determined to qualify the pact as “experimental” and not as the precursor to dozens of similar deals — at least not in the short term. “Right away, people thought Netflix was getting into the live TV linear business and would be cutting deals left and right,” he says. “Netflix made it very clear that a deal like this is to learn, and part of the reason it is in France is because of the demand and the relatively small footprint. They called out and set proper expectations of the market. Three years down the line, maybe they cut another deal like that.”

Other informed sources have characterized the Netflix and TF1 deal as “opportunistic” and resultant of TF1 CEO Rodolphe Belmer’s close relationship with the streamer’s top brass. The French exec was on Netflix’s board between 2018 and 2022 when he ran pay-TV player Canal+, and he has remained tight with Reed Hastings and co-CEOs Ted Sarandos and Peters ever since.

What we can say about these deals is streamers are framing them as partnerships that create value for the local market. They also see them as a continuation of long-standing business relationships forged through years of licensing and acquiring content. Broadcasters approach them as a new window to reach audiences that they’re struggling to meet alone.

Disney’s trio of deals with major European free-to-air broadcasters follows the assumption that they are a positive sign for the future.

“We’re proud of our longstanding relationships with free-to-air partners across Europe to both license and acquire TV shows and movies,” says a Disney spokesperson. “These recent agreements are designed to give audiences access to even more great local stories on streaming, while continuing to support investment in local production and benefit the broader ecosystem.”

Disney’s deals range in size from select shows to hundreds of hours, highlighting that there is no one-size-fits-all model for diagonal integration. Enders Analysis’ Harrington calls the ITV agreement in the U.K. — which sees ‘Taste of’-branded sections carried on the other streamer’s platform — “a very limited deal that could basically be seen as marketing.” In essence, ITV viewers can watch the likes of Andor, Only Murders in the Building and The Kardashians via a rail on ITVX, with an ITVX rail launching on Disney+ with shows including Mr Bates vs the Post Office, Love Island and A Spy Among Friends. Both sides will regularly sit down and explore what can be added. Deadline understands titles will rotate every eight weeks on average.

“We believe there is a mutually beneficial relationship here and we can reach free-to-air audiences in larger markets,” Disney+’s General Manager for EMEA Karl Holmes said back in July. ITV content chief Kevin Lygo called it a “mutually beneficial alliance”, while Holmes added that “there will be lots of different models that achieve a similar outcome” in the future, comments that came prior to Disney announcing its deals with ZDF Studios and Atresmedia.

Complicated rights situation

Given we’re headed to MIPCOM, where more TV rights have been traded than anywhere else, the issue of compensation from the agreements has already arisen and no doubt will again within the walls of the Palais and opposite the Brown Sugar bar in the early hours of the morning.

When the TF1 and France Télévisions deals were announced, we are told several international TV distributors, particularly in France, reacted with alarm. To them, this was a terrestrial network handing over their content to a streamer and removing the opportunity to secure a domestic second window. In theory, this could reduce the long-tail value of the content and even undo funding plans if a domestic second window deal had been baked into the financing. Ironically, it is often a global streamer that buys that second window to bolster its local content catalog.

As one source at a major distributor says: “If you’ve got to provide deficit financing and some of that came from the second window, you’d get a streamer to help with the financing. If it’s a TF1 show already carried on Netflix, you’re not going to get another service paying a premium for it.”

Sellers we’ve spoken to for this piece, all of whom wish to remain anonymous, say their investment in series is completely contingent on knowing what rights they control. Should one of those terms be ignored or changed, there’s an expectation of reimbursement. “It has to be compensated somewhere,” says one distributor.

Another adds: “This is about continued consolidation and whilst we’re seeing certain genres continue to uptick in AVOD, which in a way has become another secondary tier, losing that level of relationship is really tough, as you know what that buyer wants.”

Despite one distribution source calling the deals “uniquely complicated,” most people we’ve spoken to expect an agreement to be reached on compensation — and it is likely, in certain cases, that participation rights have already kicked in. Terms and conditions of contracts are often updated between long-term trading partners and, provided everyone feels fairly treated, it’s unlikely anyone will take the matter too far. In fact, one source says that if streamer carriage deals guarantee a second-window sale, it makes financial projections on new shows easier.

For some agreements, the situation is simpler. It’s worth noting, for example, that Disney+’s partnership in Germany is with ZDF Studios, the production and sales arm of German pubcaster ZDF. “Our license agreement with Disney+ is a normal distribution transaction and concerns ZDF films and series in Germany, Austria, and Switzerland,” says a ZDF Studios spokesperson. “All rights holders will be remunerated correctly, and no other rights are affected.” Streamers also say that cash generated from the deals will maintain or even increase the volume of content for broadcasters’ SVOD services.

The future

Ultimately, the changing landscape and evolving relationship between networks and streamers is about futureproofing. Netflix wants to be in the living room and terrestrials want to keep the lights on and expand their digital footprints. Their deals have come against a backdrop of a post-peak TV era where terrestrial television is in decline and the new normal is consolidation. Paramount, only recently sold to Skydance, is now rumored to be looking to snap up HBO Max parent Warner Bros. Discovery. Canal+ is completing its $2 billion takeover of Africa’s MultiChoice, and sports streamer DAZN is now the owner of Australian pay-TV giant Foxtel, which Bisson says is another example of diagonal integration at work. Who knows who else is gearing up for a big move.

Over in Europe, the Berlusconi family’s MediaForEurope (MFE) has finally taken control of Germany’s ProSiebenSat.1 Media as part of its plans to create a European giant that is capable of standing toe-to-toe with Netflix and its kin. Soon after the protracted takeover process ended, Enders Analysis’ François Godard issued a note that said MFE “finds itself in a stronger position to talk to streamers about content deals in the follow-up of this summer’s announcements. In sum, the merger… is a welcome jolt to the European television industry.”

Looking further into the future, Godard’s colleague, Harrington, says: “The real power lies with who controls how people watch, pay and interact with content.” Here, we’re talking about a bunch of unknowns: What role AI search and Google might play, the possibility of ‘super aggregator’ apps, and newer technologies that we can’t yet even envisage. This is where we’re headed, many believe.

The industry has an uncertain few years ahead, but for now an era of harmony between streamers and networks has broken out. This may be an over-simplification, but at least we’re unlikely to see a broadcaster ripping a page out of the Viacom playbook and taking a streamer to court any time soon.

A movie is only as good as its ending. As the last impression that audiences walk away with by the time the credits roll, the ending is arguably the most important part of any film. The last scene of a movie, in particular, is of tremendous importance, and over the years, many great films have offered final scenes so memorable that they go on to become absolutely legendary.

One thing is a great ending scene, and a different thing is a legendary ending scene. These are moments that aren’t just great; they have stood the test of time and aged as transcendental moments of cinema history. They’re the kind of closing scene that’s not just hard-hitting in the moment, but rather so strong that it goes down as one of the most iconic moments in all of film. These are the most legendary movie endings in cinema, ranked by how big an impact they made and what their legacy is today.

10

‘Inception’ (2010)

Once a modest up-and-coming indie filmmaker with a head full of wild ideas, Christopher Nolan nowadays may very well be the King of Hollywood. He’s made some exceptional films throughout his career, particularly in the action genre, and one of his most iconic is undoubtedly the sci-fi heist flick Inception. With a perfect balance between intelligent world-building and purely adrenaline-pumping action, it’s one of the most acclaimed action movies of the 21st century. According to IMDb users, it goes so far as being one of the best thrillers of all time.

The 21st century has had some utterly flawless movie ending scenes, many of them arguably better than Inception‘s from a strict point of view—but legendary? Inception‘s final scene, where Cobb returns home and spins his totem (a top that spins permanently when in a dream), only for Nolan to cut to black before the audience finds out whether the totem stopped spinning or not, is arguably the most legendary final scene in all of 21st-century cinema. Ambiguous endings don’t get much more popular with mainstream audiences than this.

9

‘Psycho’ (1960)

The master of suspense, Alfred Hitchcock is one of the most groundbreaking and influential filmmakers in history. His most groundbreaking film is undoubtedly Psycho, the first horror movie he ever directed, which remains one of the genre’s most iconic outings over 60 years later. Released at the tail end of Hollywood’s Golden Age, this unprecedentedly dark and structurally revolutionary masterpiece proved that things were changing in terms of what stories directors in the U.S. were willing to tell.

One of the best slasher movies of all time, Psycho has what’s perhaps one of the most divisive endings of any cinematic masterpiece, wherein a psychiatrist goes on a long, dated, exposition-heavy tirade explaining Dissociative Identity Disorder. Alas, the ending scene of the film is undeniably legendary. In it, Norman Bates sits in a jail cell and hears his mother’s voice delivering a terrifying monologue about the murders that he just committed. Supported by Anthony Perkins‘ powerhouse performance, it’s one of the most memorable scenes from any ’60s film.

8

‘The Great Dictator’ (1940)

For the longest time, Charles Chaplin was silent cinema’s biggest lover and defender. By the time the ’30s were coming to a close, however, even he had to face the music: Talkies were the future of movies. And so, he decided to use his voice to deliver one of the loudest, most prescient anti-fascism films that were made during World War II: The Great Dictator, Chaplin’s first-ever talkie.

This is one of Chaplin’s biggest masterpieces, proof that he was just as funny with sound as he was without it, and balanced with some really effective melodramatic elements. The most legendary of these comes at the very end of the film, where Chaplin delivers a resounding speech against authoritarianism and in favor of liberty and humanity. It’s one of the best-written and best-delivered speeches in the history of movies, and as such, easily one of the most legendary ending scenes ever.

7

‘It’s a Wonderful Life’ (1946)

Frank Capra always proved himself to be one of Classical Hollywood’s most ahead-of-the-curve filmmakers, and as such, it’s no surprise that he made a movie as ahead of its time as It’s a Wonderful Life. This post-war drama, a surprisingly profound exploration of themes of suicide and men’s mental health, is far more than just a Christmas classic — it’s one of the most moving feel-good films of all time.

Not coincidentally, It’s a Wonderful Life also has one of the best feel-good endings of any movie, where George runs back home after having been shown what the world would have looked like without him. With a newfound appreciation for his life and family, he’s surprised to see the townsfolk arrive at his doorstep to spend Christmas together and donate more than enough money to replace the Building and Loan’s missing cash. The moment is beautifully moving, but doesn’t feel emotionally cheap in the slightest. It’s sincere, it’s cute, and it’s as Christmas-y as you could ever want.

6

‘The Godfather Part II’ (1974)

People tend to agree that The Godfather is the greatest Hollywood film ever made, and a decent portion of those who disagree would instead grant that title to its sequel/prequel, The Godfather Part II. This Best Picture Oscar winner made the Godfather series one of the best franchises with more than one Best Picture nod, and to this day, it’s still seen as the gold standard for epic character studies.

It was a genius creative choice to end a movie largely reliant on establishing juxtapositions between Michael’s present scenes and Vito’s flashbacks with yet another instance of temporal contrast. The Corleones’ flashback dinner scene is loaded with subtext, and after his family leaves Michael alone at the table to go welcome Vito at the door, Francis Ford Coppola cuts to present-day Michael sitting alone by the lake after having had Fredo killed. An emperor sitting at the top, alone and soulless.

5

‘Pulp Fiction’ (1994)

Quentin Tarantino, one of the most popular auteurs of modern times, is a master of hard-hitting endings, but even by his standards, the finale of Pulp Fiction is absolutely masterful. This hyper-influential multi-story narrative keeps jumping around in time throughout its runtime, but its epilogue takes place during the same scene as the prologue. At a diner, Jules is telling Vincent about his plans to quit his life of crime, oblivious to the fact that the place is about to be held up at gunpoint by a pair of robbers.

Tarantino’s dialogue, blocking, and sense of pace are at their pinnacle throughout the whole sequence.

It’s no coincidence that one of the most legendary opening scenes in film history also serves as the basis for one of the most legendary closing scenes. From Jules and Vincent’s conversation to Jules’ potent monologue (delivered with aplomb by a top-form Samuel L. Jackson), Tarantino’s dialogue, blocking, and sense of pace are at their pinnacle throughout the whole sequence.

4

‘Chinatown’ (1974)

One of the most innovative and memorable neo-noirs ever made, Chinatown is definitely not for the faint of heart, but its bleakness and intensity only make it more powerful. Where most films in the genre tend to follow a detective who takes a huge case and deduces his way to an answer, this one finds Jack Nicholson‘s Jake Gittes caught up in a case that keeps growing more and more impossible to fully grasp as the runtime rolls on.

Chinatown is undoubtedly one of the darkest crime movies of all time, and a lot of that darkness comes from its ending. Tragic femme fatale Evelyn gets killed, Cross takes her daughter with him, and as a traumatized Jake is taken away by his associates with the iconic line, “Forget it, Jake. It’s Chinatown.” The good guys lose, the bad guys win, and thus, audiences are treated to one of the most riveting tragedies in the history of movies.

3

‘Casablanca’ (1942)

Though Casablanca received consistently strong reviews and a variety of awards upon release, it’s likely that no one involved in its production could have expected it to become as much of a transcendental classic as it is today. Thanks to one of the most quotable scripts of Golden Age Hollywood, Humphrey Bogart and Ingrid Bergman‘s stunning performances, and one of the best last five minutes in cinematic history, it’s probably the greatest war film made during WWII.

After the non-stop emotional intensity of the movie’s climactic third act, Rick and Ilsa must bid each other farewell as she boards a plane to flee to Lisbon with her husband, Laszlo. Telling her, “Here’s looking at you, kid,” Rick stays behind to join Louis in the resistance against the Nazis, ending the movie with the line, “Louis, I think this is the beginning of a beautiful friendship.” If that’s not truly legendary ending material, nothing could possibly be.

2

‘Citizen Kane’ (1941)

Almost unanimously agreed to be the greatest movie of Hollywood’s Golden Age, Citizen Kane made Orson Welles a cinematic legend and revolutionized the craft in ways that are easy to take for granted nowadays. Everything about it, from its narrative structure to its cinematography, was groundbreaking at the time. Today, it remains every bit as fascinating.

Another big factor making Citizen Kane such an iconic masterpiece is that it has one of the most perfect endings in film history. “I don’t think any word can explain a man’s life,” reporter Jerry Thompson says as the camera reveals the mystery of Rosebud: Charles Foster Kane’s old childhood sled, which gets burnt along with the rest of the deceased’s possessions. It’s one of the most layered, nuanced, and subtext-charged endings in movie history, and audiences, critics, and scholars alike have been endlessly analyzing it for decades.

1

‘The Godfather’ (1972)

There are very few films as legendary as The Godfather, and as such, there are very few movie endings as legendary as that of Francis Ford Coppola’s magnum opus. This tale of family, betrayal, and crime is one of the best character-driven stories ever told on the big screen, and its conclusion admirably manages to bring all of the epic story’s threads to a satisfying close.

The whole third act is incredibly riveting, but the last scene in particular is a gem. The image of Kay watching the door close, leaving the capos inside paying reverence to Michael as the new Don Corleone, is one of the most potent visuals in the entire art form. The Godfather as a whole is among the most timeless classic films ever, and this deeply meaningful and expertly executed ending plays a big factor in that.

Joe Biden is dealing with a brand new well being battle following the announcement of his aggressive prostate most cancers analysis. Former vice chairman Kamala Harris shared his assist in Xstating, “Doug and I are saddened to study of President Biden’s prostate most cancers analysis. We hold him, Dr. Biden and his whole household in our hearts and prayers throughout this time. Joe is a fighter – and I do know he’ll face this problem with the identical power, resilience and optimism which have all the time outlined his life and management.”

Even president donald trump supplied good needs, stating, “Melania and I are saddened to study of Joe Biden’s current medical analysis. We prolong our warmest and greatest needs to Jill and the household, and we want Joe a speedy and profitable restoration.”

To study extra concerning the former president’s analysis and the newest updates on his situation, Hollywood life rounded up all the pieces it’s good to know under.

What kind of most cancers does Joe Biden have?

Biden was identified with an aggressive type of prostate most cancers, characterised by a Gleason rating of 9 (Grade Group 5), indicating a high-grade most cancers. The illness metastasized to the bones, suggesting a complicated stage.

What’s prostate most cancers?

In accordance with the Cleveland Clinic, prostate most cancers is a illness that begins within the prostate and is likely one of the commonest cancers amongst males. Though many prostate cancers develop slowly and should not trigger vital injury, aggressive kinds can shortly unfold to different elements of the physique, comparable to bones and lymph nodes.

How is Joe Biden right now?

Beginning in Could 2025, Biden will meet together with his medical doctors to discover remedy choices. In accordance with CBS Information and FolksThe most cancers is delicate to hormones, which can permit for efficient remedy choices.

In accordance with Folks and the BBC, he expressed gratitude for the general public’s assist, saying: “Most cancers touches us all…Jill and I’ve discovered that we’re strongest within the damaged locations.”

Biden additionally acknowledged, “Man, I’ve discovered that this journey is stuffed with surprising twists and turns. However we face them collectively. And I am grateful to have this nation behind me.”

In October 2025, a Biden consultant stated People“As a part of a remedy plan for prostate most cancers, President Biden is at present present process radiation remedy and hormone remedy.” Sources informed the channel that the previous president was “responding properly” to remedy.

How outdated is Joe Biden now?

Biden is at present 82 years outdated. He was born on November 20, 1942.

Is there a treatment for prostate most cancers?

In accordance with the Moffitt Most cancers Middle and MD Anderson Most cancers Middle, prostate most cancers can typically be cured whether it is detected early. For superior instances like Biden’s, remedy might not supply a treatment, however it might successfully management signs and gradual the development of the illness.

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