Television as we know it is undergoing a seismic shift, and the driving force behind the change is a familiar source: TikTok. The platform’s highly interactive, algorithm-driven content has revolutionized audience expectations, forcing traditional media platforms to evolve or risk obsolescence.

For Gen Z viewers naturalised on smartphones, the speed and interactivity of entertainment programming must match their social media feeds. The way programming is being conceived, produced, and consumed is being revolutionised.

The most obvious change is in pacing. With studies showing that the average attention span of the new generation has shrunk to eight seconds, shorter than that of a goldfish, television has had to adapt. Shows like Euphoria now feature twelve shots in a ten-second clip, echoing the rapid-fire montages of TikTok.

Bridgerton has incorporated ASMR-style whispers and fabric sounds designed for the majority of viewers who watch the show in silence. Even news shows have changed, with the BBC’s Newsbeat delivering headlines in 15 seconds, complete with emoji captions and pop music.

Visual Storytelling:

Visual storytelling has evolved just as dramatically to accommodate younger audiences’ silent viewing habits. Research shows that 54% of Gen Z watch videos without sound, prompting shows to borrow technology directly from TikTok. Heartstopper features animated captions that swirl during romantic moments and sway during arguments. Boonie Bears uses on-screen text and recipe images to mimic cooking tutorials popular on social media. Even prestige shows like Severance now hide visual Easter eggs in background props, rewarding viewers who watch the footage as closely as they would on social media.

The most radical adjustment may be the adoption of a vertical format. When BBC Three rebooted its series Liars, it was shot specifically for mobile viewing, with 72% of their viewers being Gen Z. The success has inspired other shows to experiment with mobile-friendly technology. The reboot of Gossip Girl was framed in traditional widescreen and a vertical 9:16 ratio. Search Party used FaceTime-style footage, not unlike TikTok selfie videos. Streaming services are even testing “scrollable” episodes, where scenes advance automatically like a social media feed.

Influence of TikTok

TikTok’s influence extends beyond production to casting decisions. Now, talent scouts often look for actors with high audience engagement on social media. Madelyn Cline, the lead actress in “On the Bund,” and Dominic Fike, the lead actor in “Elysium,” were cast in part because of their pre-existing TikTok followers. Studios have begun using AI to analyze actors’ social content to predict their “meme potential.” Even established shows like “Emily in Paris” now include micro-influencers in guest appearances to increase visibility for the algorithm.

This rapid development has created a lot of concerns. The rise of “sludge content” – those overly edited, dopamine-fuelled videos that dominate social media – has begun to affect the cadence of television in potentially problematic ways. Shows like Idol, with its flash-lit party scenes that echo TikTok’s switch-ups, and The Wasps, with its five different timelines per episode, draws on the fractured narratives of social media.This constant overstimulation could reduce viewers’ comprehension, but the audiences now expect constant surprises.

As the TV industry continues to adapt to these new rules, the lines between traditional programming and social media content are blurring. Streaming platforms now analyse watch time metrics with the same rigor as they do social media engagement rates. Writers’ rooms study viral trends for inspiration. The question isn’t whether television will keep changing, but how far it can go. Will we see choose-your-own-adventure episodes customized by algorithms? Side characters generated by AI based on viewer preferences? One thing’s for sure—if it works on TikTok, it’ll likely be on your TV screen soon.