Can’t Afford It? Viewers Turn to Piracy as Streaming Services Fall Short

wI recently planned a trip to Florence, and all I can think about is re-watching Medici. This historical drama from 2016 chronicles the rise of the influential Florentine dynasty during the Renaissance. Until just a few years ago, accessing Netflix granted me a treasure trove of both acclaimed and obscure titles. Yet now, if you search for the show in 2025, Netflix links lead to empty pages. It won’t show up on HBO Max, Disney+, Apple TV+, or smaller platforms either. Amazon Prime requires a separate purchase for each of the three seasons or 24 episodes. These episodes are stored in a library that could be deleted overnight. For the first time in a decade, I find myself nostalgic for the days when I relied on the Swedish Torrent Index, a land of digital piracy, and I know I’m not alone.

During my teenage years in the 2000s, torrents were my go-to. Need the latest Coldplay album for your iPod? Pirate Bay. Looking for the 1968 adaptation of Romeo and Juliet? Pirate Bay. Everything I wanted was just a few clicks away. But as smartphones gained popularity, so did Spotify, the Swedish music streaming service. Interestingly, the same country that hosted illegal torrents also presented a solution.

“Spotify wouldn’t exist without the Pirate Bay,” remarked Sundin, the managing director of Universal Music Wedden at the time, reflecting in 2011. Yet, while I could legally enjoy the music, I once engaged with torrents. When Netflix arrived in Sweden in late 2012, conversations around torrenting films faded. A vast array of large shows and award-winning films was suddenly available for just 79 SEK (£6) per month. Meanwhile, the three founders of Pirate Bay faced arrest and imprisonment. To me, piracy seemed a thing of the past.

Fast forward ten and a half years since the Pirate Bay Trial, and the winds have shifted. On a surprisingly warm summer day, I found myself with fellow film critics in the Old Town Port—a location rich with smuggling lore—discussing the “enshitification” of streaming. This term describes how platforms deteriorate as they prioritize profits over service quality. Netflix’s monthly rate soared to over 199 SEK (£15), and accessing the same shows previously found in one place now often necessitates multiple subscriptions. Nowadays, many streaming services force users into ad-supported plans despite their fees. Local restrictions may even compel users to employ a VPN to unlock the full range of available content. On average, European households now spend nearly 700 euros (£600) annually on three or more VOD subscriptions—receiving less for more.

One film critic shared anonymously, “I never stopped pirating; if I’m unable to find what I’m looking for on DVD, my partner will too.” While some have never shied away from copyright infringement, others have admitted to recently returning to it. This time, the focus is on unofficial streaming platforms. One prevalent app is legal, yet users can access illegal streams through accompanying community add-ons. “Downloading is overly complicated; I wouldn’t even know where to begin,” remarked one viewer. “The shadowy streams might bombard me with ads, but at least I don’t have to worry about being hacked or caught.”

Unlicensed streaming remains a significant source of copyright infringement in TV and film, as reported by Muso, a London-based copyright infringement company. In 2023, it accounted for 96%. Copyright infringement figures remained low in 2020, with 130 billion website visits but soared to 21.6 billion by 2024. In Sweden, 25% of respondents reported pirated content in 2024, a trend primarily observed among those aged 15 to 24. Copyright infringement has resurfaced, albeit under a new guise.

“Piracy isn’t merely about pricing,” stated Gabe Newell, co-founder of Valve, the driving force behind Steam, the largest PC gaming platform. He noted in 2011, “It’s fundamentally a service issue.” Nowadays, the streaming crisis underscores this reality. Content is fragmented, prices escalate, and bitrate restrictions vary by browser. It’s no surprise that viewers are once again gravitating towards more accessible options. Studios impose territorial limitations and impose tolls for access, resulting in an artificial scarcity in a digital age that promised abundance.

Rebellion or resignation may seem irrelevant. The sails can either be raised or lowered as streaming platforms fragment into isolated territories. Increasingly, viewers are journeying back to the digital high seas. Medici comprehended the value intrinsic to access. Clients traveled from as far as Rome to London, maintaining relationships through a system based on trust and integration. If current studios aspire to weather the storm, they must rediscover this vital truth.