The Portuguese television sector exhibits several idiosyncrasies, evident even in the language used by industry professionals. Notably, the term “audiovisual” is preferred over “television,” and local productions resembling the Brazilian telenovela format are often labelled “national fiction” or, more recently, more generically as “TV series”. As in many countries, the Portuguese landscape is shaped by both public and private actors: a state-supported broadcaster (RTP) and two major private groups (Impresa/SIC and MediaCapital/TVI). Alongside traditional linear programming, all three operate streaming platforms accessible across various devices. These services have expanded their catalogues—featuring both original and third-party content—and have become increasingly sophisticated and, arguably, more influential. This paper argues that the specificities of the Portuguese television ecosystem deserve closer examination, especially in light of the profound shifts of the past five years that are transforming longstanding paradigms for both producers and audiences. The analysis focuses on three interrelated dimensions: the platformisation of television; evolving domestic production practices, including interactions with global players such as Netflix and MAX; and the reception and perception of these changes by industry stakeholders and audiences alike. Methodologically, the study draws on a mixed approach. It combines quantitative data from national and international sources with qualitative insights derived from interviews and focus groups (with both audiences and producers) conducted within the scope of the ongoing CresCine project (Horizon Europe). Together, these perspectives aim to provide a nuanced, diachronic account of the transformation of Portuguese television in the age of digital platforms. This will show how a small, linguistically distinctive market navigates global streaming dynamics, reshaping production, formats, and audience engagement. Tracing Portugal’s case enriches broader debates on platformisation, cultural specificity, and the evolving aesthetics of television in the digital era. Key references: Bengesser, C., Esser, A., and Steemers, J. (2022). Researching transnational audiences in the streaming era: Designing, piloting and refining a mixed methods approach. Participations: International Journal of Audience Research, 19 (1) Damásio, M. J., & Paixão da Costa, J. (2020). Portuguese Soap Operas: A case study on the emergence of an original production culture. Critical Studies in Television, 15(1), 25-48. European Audiovisual Observatory. (2024). Yearbook key trends 2023/2024: Television, cinema, video and on-demand audiovisual services - The pan-European picture. Strasbourg, France: European Audiovisual Observatory. Retrieved from https://yearbook.obs.coe.int/s/document/7479/yearbook-key-trends-2023-2024-television-cinema-video-and-on-demand-audiovisual-services-the-pan-european-picture Idiz, D. (2024). Local Production for Global Streamers: How Netflix Shapes European Production Cultures. International Journal of Communication, 18. Nielsen, J. I., Bengesser, C. H., Øfsti, M. & Kostovska, I. (Eds.) (2024). Small European Film Markets: Portraits and Comparisons. https://www.crescine.eu/small-film-industries