Mitico Pilots Community-Based Livestreaming at World of Dance Hong Kong

On January 22, 2026, World of Dance Hong Kong became the first global event to pilot Mitico’s community-based livestreaming model. The idea is simple: rethink how live competitions are shared in a digital-first world.

Instead of relying on a single official broadcast, the event was produced as one centralised live feed. It was then distributed across multiple creators and influencers, each hosting the stream for their own audience.

This gave creators room to add their own commentary, adapt the language and bring in cultural context that suited their communities, while the production remained consistent behind the scenes.

“Dance is a universal language”, said David Gonzalez, President of World of Dance. “Our collaboration with Mitico to produce an international, creator-led livestream in Hong Kong allowed a regional competition to reach a global audience. With personalised commentary from hosts in different languages, we can begin to see how regional events may connect through global communities”. This approach points to a shift away from traditional broadcaster-led distribution and toward creator-led amplification.

A dance crew performs on stage as the audience watches. PHOTO: WORLD OF DANCE HONG KONG

Mitico’s approach begins with a familiar industry challenge: the high cost of production and licensing, which often makes it difficult to livestream cultural and sports events at scale.

“Many cultural and sports competitions are never livestreamed because traditional broadcasting is too costly and complex”, said Chengcheng Li, Founder of Mitico. “By distributing a centralised production feed through creators and community hosts, regional events can reach global audiences while maintaining a unified production workflow”.

World of Dance (WOD) offered a natural test environment. It started as a global dance competition platform before entering a television partnership with NBC, which later produced four seasons of the World of Dance reality series. While the television programme concluded in 2021, the competition business has continued to expand through an international network of partners. Today, World of Dance competitions are represented in more than 72 countries, producing nearly 100 events each year, with a digital audience of more than 34 million followers across platforms

Despite that scale, many competitions are not livestreamed due to the high production costs and technical demands associated with traditional broadcasting. The Hong Kong event was selected to assess whether a community-led distribution model could offer a more scalable alternative for live coverage.

While no changes to World of Dance’s broader distribution strategy have been announced, the Hong Kong pilot offers an early indication of how global competitions may rethink livestreaming in an increasingly creator-driven media environment.

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Why the Oscars Are Moving to YouTube and What It Signals About the Future of Global Entertainment

From TV to YouTube, the Oscars’ global shift reveals how entertainment, access and platforms are reshaping cultural institutions.

Ventureport Media Team

Updated

January 8, 2026 6:29 PM

Youtube app on a mobile device. PHOTO: UNSPLASH

The Oscars are moving to YouTube. Beginning in 2029, the Academy of Motion Picture Arts and Sciences has signed a multi-year agreement that makes YouTube the exclusive global home of the Oscars through 2033. From the ceremony itself to red carpet coverage, behind-the-scenes access and the Governors Ball, the entire experience will live on a platform most people already open every day.

On the surface, it looks like a distribution shift. In reality, it signals a broader strategic reset. For decades, television delivered scale for cultural institutions. Today, reach and discovery live on platforms, not channels. By choosing YouTube, the Academy is quietly acknowledging that cultural relevance today is built where audiences already are. In that context, YouTube is no longer just a place to watch clips but an emerging piece of cultural infrastructure.

What also stands out is how the Oscars are being reframed. This partnership is not limited to one night a year. Alongside the ceremony, YouTube will host year-round Academy programming through the Oscars YouTube channel. That includes nominations announcements, the Governors Awards, the Student Academy Awards, the Scientific and Technical Awards, filmmaker interviews, podcasts and education programs. Instead of a single broadcast moment, the Oscars are turning into an always-on ecosystem.

Accessibility is another central pillar of the deal. The Oscars will be free to watch globally, supported by closed captioning and audio tracks in multiple languages. This is less about nice-to-have features and more about staying relevant in a global, digital-first world. Younger audiences and viewers outside traditional Western markets expect access by default. The Academy is clearly building with that expectation in mind.

There is also a deeper exchange happening between heritage and technology. YouTube gains cultural weight by hosting one of the world’s most established creative institutions. The Academy, in turn, gains technological legitimacy and a clearer path into the future.

That balance extends to how the transition is being handled. The Academy’s domestic broadcast partnership with Disney ABC will continue through the 100th Oscars in 2028 and the international arrangement with Disney’s Buena Vista International remains in place until then. This is not an abrupt break from legacy media but a carefully phased shift. Change is being managed without burning bridges.

“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round Academy programming,” said Academy CEO Bill Kramer and Academy President Lynette Howell Taylor. “The Academy is an international organization and this partnership will allow us to expand access to the work of the Academy to the largest worldwide audience possible — which will be beneficial for our Academy members and the film community. This collaboration will leverage YouTube’s vast reach and infuse the Oscars and other Academy programming with innovative opportunities for engagement while honoring our legacy. We will be able to celebrate cinema, inspire new generations of filmmakers and provide access to our film history on an unprecedented global scale.”

From YouTube’s side, the partnership places the platform firmly in the center of global cultural moments. “The Oscars are one of our essential cultural institutions, honoring excellence in storytelling and artistry,” said Neal Mohan, CEO, YouTube. “Partnering with the Academy to bring this celebration of art and entertainment to viewers all over the world will inspire a new generation of creativity and film lovers while staying true to the Oscars’ storied legacy.”

Google Arts & Culture extends the partnership beyond the ceremony. Select Academy Museum exhibitions and materials from the Academy’s 52-million-item collection will be made digitally accessible worldwide, bringing film history and education onto the same platform.

Taken together, the deal is less about where the Oscars will stream and more about how cultural institutions are adapting to the changing landscape. The Academy is positioning itself to be present year-round, globally accessible and aligned with the platforms that shape everyday viewing.