Imagine a stadium where suddenly the referee puts the whistle aside, the crowd starts narrating the game in real-time, and the players become influencers. That’s pretty much what’s happening with communication in Brazil — and Globo, the traditional media giant, realized this in time not to sit on the bench.

The creation of Ge TV, a sports channel on YouTube with its own personality, free use of profanity, and high-level games, is not just a programming choice. It’s a strategic turnaround. It’s like watching a veteran striker reinventing his game to remain decisive. Globo is not just keeping up with the market. It is playing with it — and, now, under the same rules as digital natives.

This movement signals something bigger than a new schedule or another channel: it shows that the logic of traditional communication is being challenged on open ground. And if even the largest television empire in Brazil recognizes the power of digital, what does that say about those who were born creators?

It’s not just about football. It’s about the future of attention. And those who understand this play at an advantage.

From fixed schedules to infinite feeds: the end of the single television logic

For decades, Brazilian TV was sovereign. It dictated times, trends, catchphrases, heroes. If it was on Globo’s screen at 9 PM, it was canonical. The audience was measured by the packed sofa, not by real-time comments. But that changed — and it didn’t happen overnight. It was a slow but relentless process: digital arrived and redesigned the borders of what media is, what attention is, and, above all, who drives the conversation.

Platforms like YouTube, TikTok, Twitch, and Instagram not only fragmented the audience but inverted the logic of authority. Today, it’s not the channel that confers legitimacy to content — it’s the content that makes the channel relevant. In this new map, those who have language, have power. And those who do not adapt will vanish.

For a long time, Globo hesitated. And rightly so. It had much to lose by cannibalizing its own structure. It created barriers, limited availability, bet on paywalls and hybrid models. But there came a point where resistance became a risk — and digital, inevitable. Ge TV is the turning point. It’s Globo saying, in practice: “okay, the game has changed, and we will play too.”

This is not just a channel change. It’s a change in mindset. A recognition that waiting for the audience is no longer an option. One must go to it.

And where is it? On the phone. On TikTok. On YouTube. On the living room sofa, yes — but also on the subway, in line at the bank, during the time between jobs. Consuming content in quick, informal, interactive formats. It’s not enough to be on all screens: one must speak the language of each.

If Globo is entering the digital space, those already there have an advantage

What may seem like an invasion of the “big” into the territory of the “small” is, in fact, a powerful validation: digital is no longer an alternative. It is the main stage. If even Globo recognizes this and decides to adapt, those who were born in this universe are indeed one step ahead — and need to understand the value of that.

Independent creators, agencies, collectives, and production companies that operate fluidly in digital already dominate the codes, formats, rhythms, and expectations of this audience. They know that attention is not won with spotlights, but with connection. They know that relevance comes from the community, not from a transmission tower. They know that the game is no longer won solely with viewership, but with engagement.

Ge TV shows that there is space — and investment — for those who understand the behavior of the new generation. Content that goes viral on Reels, a cut that engages on X (Twitter), a behind-the-scenes look that humanizes on TikTok… All of this has become an asset. Cultural capital. Brand value. And the market is learning to price this.

More than ever, creators who know how to structure their projects with strategic vision will have an advantage. Brands want to participate in narratives, not just buy media. And who understands narrative today? The creatives who live the culture of the internet from within — not those who try to "translate it" from the top of the tower.

Digital has leveled the playing field. Now, those who can position themselves with creative intelligence can sit at the table — with Globo, with sponsors, with the audience.

And this requires more than talent: it requires structure, cash flow, stamina. Because to seize the opportunity, one must be ready for it. And this is where solutions like DUX make all the sense: anticipating a contract today may be what makes the right project viable at the right time — the one that positions you as part of the transformation.

Not every masterstroke comes without risk: when the giant enters the field

When a giant like Globo enters digital, the game changes — and not always in favor of those who were already playing. The arrival of a player with structure, budget, and influence can shift attention, inflate benchmarks, and create new pressure: that of competing in a territory that, until recently, was freer, more experimental, more human.

Ge TV enters with strength, but also with standards. And this imposes challenges. The language of digital — built with errors, improvisation, memes, and vulnerability — begins to be filtered, scripted, and “professionalized.” This may seem like progress, but it can also become rigid. There is a real risk that the market will begin to demand of creators the same level of finish as a traditional production company, without offering the same support.

In addition, monetization is still an unstable territory. While Globo guarantees quotas of R$ 40 million, most creators live the reality of informal negotiation, contractor defaults, and long payment terms. This creates a brutal asymmetry: everyone is on the same field, but not everyone has the same type of cleats.

And there’s more: the hype can be treacherous. The entry of the big players into digital accelerates content professionalization but also generates saturation. More content, more channels, more competition for the same attention. In this scenario, the risk is not just to be ignored — it’s to be swallowed by the machine of instant relevance.

For the small, surviving in this game requires strategy, consistency, and... capital. And this is where the most tangible obstacle comes in: financial.

You may have the best idea in the world, but if payment is 90 days away, the project stalls. DUX understands this pain because it was born from it: the need to make creation viable with agility. Anticipating receivables is often the difference between launching now or being surpassed by those who can. In a scenario where timing is everything, quick access to cash becomes a competitive differential.

Ge TV, CazéTV and the game of relevance: it’s not about who arrived first, it’s about who understands the game

Globo was not the first to bet on digital — and this is important. Because those who paved the way, took hits first, erred live and validated formats were native creators. CazéTV is the greatest example of this turnaround: an independent operation that brought the World Cup, Olympics, and Champions League to audience records... without needing a traditional broadcaster.

Cazé, with his team and community, not only showed that digital can handle major events. He demonstrated that the audience prefers a closer, more spontaneous, more participatory approach. He created an emotional broadcasting model, where the fan sees themselves reflected — with their memes, their outbursts, and their passions.

Ge TV comes as a structured response to this. A Globo that says: “we understood the model, and now we will play within it with all we have.” But here’s the critical point: it’s not enough to copy the format. It’s necessary to understand the soul of digital. And this is not always learned through structure, but through experience.

Comparing with smaller brands and players, the advantage of the creators lies in something that the big players are still trying to capture: native authenticity. Those who already live digital do not need to “adapt tone” because they already speak the right tone. They do not need to “create engagement” because they already have community.

At the same time, Ge TV shows what is possible when language is combined with infrastructure. When irreverence is combined with brand power. This is the model that the most ambitious creators should aim for: not just survive in digital, but structure themselves for scaling.

The future belongs to those who can unite the best of both worlds: creative agility + operational muscle. And this requires resources, structure, and long-term vision.

While Globo invests millions, creators fight for liquidity. DUX comes in as the necessary shortcut

Digital creation has a cruel paradox: never before has so much content been created, so much relevance sought, and never has it been so difficult to sustain this rhythm. On the other side of the screen, the audience sees cuts, behind-the-scenes looks, and live broadcasts. But behind all this, there’s production, crew, scripting, equipment, post-production. There are costs. And almost always, the money comes in after the content has already been delivered.

This is where the game tightens. Because while Globo launches Ge TV with quotas of R$ 40 million and a behind-the-scenes structure, creators need to decide whether to use what they have to pay an editor, invest in traffic, close rental deals, or simply cover the bills for the month. It’s not a lack of capability — it’s a lack of capital circulating at the right time.

The DUX exists precisely to break this cycle. It’s a fintech created with its feet on the reality of those who live from gigs, contracts, and projects. We know that creativity is not just inspiration — it’s operation. And operation requires liquidity. With DUX, the creative anticipates the value of signed contracts, with a few clicks, quick analysis, and money in the account in up to 24h. No hassle. No waiting 90 days.

Globo can afford to plan the next content cycle based on contracts closed today. The creator cannot. They need the money now — to keep the wheel turning, to keep the project afloat, to keep the audience engaged.

That’s why DUX is more than a financial solution. It’s a strategic shortcut for those who understood that relevance is built with consistency. And consistency requires stamina. Ge TV shows that the market has changed. DUX comes in to ensure that creatives have what they need to play this new game at a high level.

If even Globo understood, why do you still hesitate?

Ge TV is not just a novelty in sports programming. It’s a landmark of transformation. When the largest broadcaster in the country decides to dive into digital with its own language, native formats, and a community approach, it signals what we all already knew: the center of attention has moved — and anyone wanting relevance needs to be there.

This applies to everyone. To creators who still treat digital as a temporary springboard. To agencies that resist redesigning processes. To brands that insist on planning as if it were still 2015. And to creative businesses that continue to wait for the “right moment” to scale.

But the timing of digital is not that of perfect planning. It’s about agile movement, quick responses, continuous creation. And for that, it’s necessary to have creative liquidity. The freedom to decide, produce, launch — without being hostage to the payment calendar.

So, the question that remains is: if even Globo had the courage to flip the switch, what’s still holding you back? It’s not technique. It’s not talent. Often, it’s money. And that now has a solution.

Visit our website and find out how anticipating signed contracts can be the turning point your project needed. Because creating in digital is no longer the future. It’s the present. And those who move first, lead.