BEONDTV – Part 3

Creating, Spreading, and Cashing In

Let’s start with creating. I dislike the overuse of the term content when it comes to launching an original television program. Using such a generic word to describe everything that’s produced feels degrading to the professionals who create shows with vision, craft, and intent.

A Brief History of the Word Television

The word television is often attributed to Constantin Perskyi, a Russian scientist who used it in a paper presented at the International Electricity Congress at the 1900 Paris Exhibition. Perskyi was referring to the concept—not a working device. The term is derived from the combination of:

• “Tele” (Greek: τῆλε) meaning “far” or “at a distance”
• “Vision” (Latin: visio) meaning “sight” or “seeing”

By the 1920s, the term television came into popular use to describe the transmission of visual images and sound from a distant location to viewers. That original meaning still makes sense in today’s streaming-driven world.

Defining a Show

It’s important to distinguish shows from other forms of video that get lumped under the umbrella of “content.” The word show originates from Old English scēawian, meaning “to look at” or “see,” and is related to German schauen and Old Norse skue. The noun show appeared in the 1500s, originally meaning a spectacle or public display. By the 17th century, it was used to describe planned, produced entertainment—plays, exhibitions, and performances.

As radio and television emerged, show took on its modern connotation: broadcast entertainment. Think The Jack Benny Show or The Ed Sullivan Show. Today, we casually refer to both individual episodes and full series as shows—e.g., “What show are you watching?”

Defining a Program

The term program has a parallel evolution. Originally used in the 18th and 19th centuries to describe printed schedules of events—plays, concerts, etc.—it came to mean a planned, produced segment of media. By the 20th century, it referred to scripted dramas, news shows, or documentaries.

In modern TV, the words program and show are often used interchangeably. What they share is key: both are planned and produced works of storytelling or presentation—not random uploads or casual captures.

The Role of the Producer

The word produce derives from the Latin producere, meaning “to bring forth.” In the 1400s, it applied to agriculture and manufacturing. By the 1800s, it entered the world of theatre, referring to the person responsible for staging a performance.

By the 1930s, producer had become a formal title in film, designating the individual in charge of finances and logistics. In television by the 1970s and 1980s, roles became more specialized: Executive Producers oversaw creative direction, while Producers handled budgets, crews, and schedules.

In the late 1980s and beyond, as writers and talent began receiving producer credits for creative and contractual reasons, the distinctions between titles blurred. Today, the person responsible for production may be credited as Producer, Executive Producer, or Executive in Charge of Production, depending on the structure of the company or production.

Content ≠ Show

Why I called out the role of the producer is because it highlights a key difference between creating a show and creating content. The producer is essential to the development of a show—overseeing everything from concept and casting to logistics, schedules, budgets, and execution. It is a role rooted in structure, collaboration, and accountability.

In contrast, when we talk about “content” in the modern digital sense, especially in the world of social media and short-form video, that role often doesn’t exist. Content is frequently created by individuals working alone, without the layers of planning, team coordination, or production discipline that a producer brings.

This distinction matters. In today’s digital landscape, almost anything captured on video—whether it’s a spontaneous phone recording, a vlog, or a professional shoot—is labeled as content. But there’s a vast difference between a user-generated clip filmed in the moment and a show developed with purpose and structure. A show involves writing, casting, directing, editing, and a defined creative vision—elements that a producer orchestrates and holds together. Content may be valuable, entertaining, or even viral—but that doesn’t make it a produced show.

BEONDTV’s Mission and Distribution

Understanding the distinction is at the heart of what BEONDTV set out to do: to create and support shows, not just distribute content.

I’ve outlined the launch of Carlos and Lisa in previous posts. Following the launch of the talk show, we added more programming, working with talented professionals to produce more shows at a level comparable to broadcast and streaming networks.

From the start, BEONDTV aimed to provide a platform for professional talent, where creators could own their shows and benefit directly from their success. To extend our reach, we launched a “Netflix-style” website, making all episodes available on demand after their initial airings. While this allowed for a better viewing experience and control of our catalog, it didn’t generate the ad revenue we’d hoped for. This is not uncommon for independent digital networks. When the pandemic hit, we had to shut down our studio and pivot to remote interviews to keep new episodes going.

FAST Channel – Version 1

Faced with limited reach, we shifted strategies. With a growing library of evergreen programming, we decided to launch a 24/7 live streaming channel, a FAST (Free Ad-Supported Streaming Television) channel. Without staff or infrastructure, we repurposed our production computer into a software-based master control, using off-the-shelf broadcast tools. This setup allowed us to build a schedule, handle ad insertion, air promos, drop in a network bug, and play all elements from local drives.

The next hurdle was streaming 24/7 at scale. We turned to Twitch, a no-cost option that allows constant broadcasting, and embedded the feed on our website, offering users both FAST and AVOD (ad-supported video on demand) viewing options. This brought in some sponsorship, but not enough to access the larger programmatic ad market.

Expanding Through Apps

Our success with the in-house FAST channel led us to move our channel to a third-party service provider to broaden our global reach. They helped us build apps for iOS, Android, Smart TVs, mobile web, and platforms like Roku. Our initial focus was on VOD, which enabled us to integrate programmatic ad insertion. We later added a single FAST channel programmed around our VOD catalog.

While this resulted in a small bump in revenue, it wasn’t enough. Discovery algorithms on search engines weren’t driving new users to our platform.

Becoming a Platform

Getting our FAST channels carried on Smart TVs took time, partly due to gatekeeping by app stores and device manufacturers. Our provider helped in some cases. Original content channels were struggling unless they leaned into controversy. Meanwhile, major media companies were flooding the market with FAST channels repurposing old TV series.

Still, we achieved a global footprint across all forms of distribution. With our infrastructure in place, we began onboarding other FAST channels. Today, BEONDTV hosts 13 FAST channels on our platform.

Cashing In

Ad dollars are scarce. With low viewer volume, companies like BEONDTV rely on third-party service providers to collect and distribute ad revenue. This process is slow and lacks transparency. Unlike large streamers with in-house sales teams and analytics, we are dependent on external platforms to provide accurate data and timely payouts—often a frustrating experience.

BEONDTV Next Steps

After more than seven years navigating the ever-evolving streaming space, we’re building what we wished existed when we started. BEONDTV is getting ready to launch a new Pay-Per-View service—designed specifically for show creators and producers with existing libraries or original shows who want to reach global audiences and get paid for their work.

No gatekeepers. No complicated tech stack. Just a clear, streamlined path to distribution and monetization. If you’ve got a show and you’re looking for a platform that values producers as much as the product, we’d love to talk.

And that’s exactly why we’re called BEONDTV—we’ve always been about creating a space beyond the norm. A place where professionals can take control of their work and connect directly with their audience.