Situace v Evropě a podrobněji v UK:
The impetus of needing to raise revenue sets the US podcasting world apart from regions with older, robust public service broadcasters, such as Europe, Canada and Australia. Although many public broadcasting organizations face funding cuts, they are still well established on the media landscape. This makes podcasting more of a niche activity in the United Kingdom, according to Hall:(...) in the UK and much of Europe, broadcasting quality is high and still reasonably well funded – so, why would we need to invent a hobby like podcasting?! Hall believes that the advertising content prominent on many US podcasts would not be acceptable to British listeners who are accustomed to quality, free programming, (...)Until there's a funding model to compete with public radio commissioning, UK podcasting will remain the preserve of the amateur enthusiast, the self-supporting celebrity and the BBC’s radio shows. For any new network or platform to succeed professionally long-term, it'll have to address not content issues (durations, topics, voices) but revenue collection. (...) Besides funding models, Hall (2016) believes there are cultural barriers in the United Kingdom to the growth of highly produced audio storytelling podcasts: In the US the lines around broadcast journalism are much more blurred. Most people there work on 'stories' and think of themselves as journalists, it seems to me, whereas here there's a sense in some [BBC] Broadcasting House circles that Serial is an entertainment series or story-telling, rather than proper, robust BBC-quality journalism.
(McHugh, 2016, 23-25)