The Canal+ group, a subsidiary of Vivendi, has just thrown a wrench into the pond by announcing the withdrawal of its pay channels from DTT from June 2025. A decision which follows the non-renewal of the C8 frequency by the Arcom, marking an escalation of tensions between the Bolloré group and the audiovisual regulator. This maneuver, beyond a simple disagreement, reveals the limits of a French audiovisual system that is running out of steam.
An arm of honor assumed at Arcom
Canal+ does not mince its words. In its press release, the group denounces a “increasingly restrictive tax and regulatory environment”citing in particular the increase in the tax paid to the CNC (to allow the production of a majority of turnips, moralistic, ideological, etc.) and the threats to its reduced VAT rate. But it was the removal of the C8 channel from TNT, perceived as a frontal attack, which triggered this unprecedented response.
Arcom’s decision, justified by a desire for pluralism and a reaction to controversies around programs like Don’t Touch My Postwas interpreted by Canal+ as a form of censorship. In response, the group decided to remove Canal+, Canal+ Cinema, Canal+ Sport et Planet+ of TNT, a measure which will impact nearly 70,000 subscribers.
A breathless audiovisual system
This confrontation highlights the flaws of an outdated regulatory model. While Canal+ remains a major player in financing French cinema, the group feels increasingly stifled by regulations that it considers unsuitable in the face of international competition. High taxation and administrative constraints are all obstacles to the competitiveness of French players compared to streaming giants like Netflix or Amazon Prime Video, largely spared from the same requirements.
For bad French cinema, often singled out for its questionable quality and its dependence on public subsidies, this decision could have considerable repercussions. Canal+, the main financier of the sector, is clearly reviewing its priorities. A redistribution of the cards could finally lead to a questioning of a system which sometimes favors quantity over quality.
Limited impact for subscribers, but strong symbolism
For exclusively TNT subscribers, Canal+ offers alternatives via satellite, fiber, ADSL or its myCanal application. If the practical impact seems reduced, the message sent to Arcom is clear: the Bolloré group refuses to comply with injunctions that it considers biased.
This decision also comes in a broader context where Canal+ is reinventing itself as a digital platform, gradually moving away from the constraints of terrestrial broadcasting. By now only CNews et CStar on DTT, the group nevertheless maintains a foothold in the traditional ecosystem.
Media pluralism in question
The withdrawal of C8 and the tensions around Canal+ are relaunching the debate on freedom of expression and media pluralism in France. The ousting of the leading TNT channel, with more than 9.6 million daily viewers, sparked a wave of indignation. A petition in support of C8 has collected nearly a million signatures, denouncing a decision seen as an attack on freedom of expression.
The withdrawal of Canal+ channels from TNT opens a void in the television landscape, already coveted by other players like NRJ 12 or projects such as L’Express TV. The redistribution of frequencies could reshape the audiovisual landscape, but the departure of a player as emblematic as Canal+ casts a shadow over the future of the sector.
This decision also symbolizes a divide between large French media companies and a State which is struggling to reconcile strict regulation and support for competitiveness. In a market dominated by international platforms, the departure of Canal+ from TNT illustrates a growing disillusionment with French institutions, perceived as an obstacle more than a support.
By choosing to withdraw its pay channels from DTT, Canal+ is not only sending a message to Arcom: it is asking a crucial question about the future of French audiovisual media. Between rigid regulation, controversial financing and fierce international competition, the current model seems to be running out of steam.
This decision, which could accelerate the disappearance of low-quality film productions, paves the way for a necessary overhaul of the sector. In a context of digital transformations, Canal+ and the Bolloré group seem to be sending a strong message: “Don’t play stupid with us”. But let Arcom rest assured, no one will cry if films like Les Barbares, or Ma France à Moi, can no longer be produced for lack of public money.
Illustration : DR
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