English Entertainment
Ratings: Star Movies maintains edge over HBO; Discovery gains ground
MUMBAI: The English entertainment scene has been undergoing a few changes. Until recently HBO was off the air waves in Mumbai for several weeks. Arch rival Star Movies continues to be off air.
Tam data SEC A,B 15+ has thrown up some interesting findings. The period is 1 September – 1 November 2006.
At an all India level Tam data shows that Star Movies has seven of the top nine English films. Creature features and martial arts films not surprisingly continue to do well. King Kong and The Way Of The Dragon on Star Movies got TVRs of 0.34 and 0.31. Enter The Dragon on HBO got a TVR of 0.31.
Data also shows that the blackout in Mumbai benefitted Pix and Zee Studio. When you just look at the six Metros Pix has two films in the top 10. At number three it has Bicentennial Man which got a TVR of 0.38. Men In Black rated 0.3. This shows two things. Firstly Mumbai is a very important market for English films. Secondly it lays some credence to Pix’s philosophy that if one has films with good stories no matter when they were made viewers will watch them. Interestingly none of the films in the top 10 whether one looks at the Metros or all India are premieres. Zee Studio also figures in the top 10 at the metro level. It got a TVR of 0.29 for Shaolin Temple.
If you look at primetime shares 8-11 pm for all the English channels – movies, general entertainment, infotainment one sees that Star Movies and HBO’s shares have gone down partly due to the Mumbai blackout. Star Movies for the period last year had a share of 23. Now it has a share of 17 for all India and 16 for the six Metros. HBO’s share has gone down from 18 per cent to 13 per cent at an all India level. For six Metros there has been a fall from 17 per cent to 11 per cent.
Pix though it launched recently is neck and neck with Zee Studio. Zee Studio it must be pointed out has doubled its share from three last year to six per cent. Pix does better than Zee Studio when one looks at the Metros. It has a share of eight. At an all India level it has a share of four per cent.
The biggest gainer by far is Discovery. At the all India level it has a share of 18 per cent versus 14 per cent for the same period last year. This is the most for any channel. At a Metro level it has a share of 16 per cent versus 10 per cent last year. Discovery’s gain would appear to be arch rival National Geographic Channel’s (NGC) loss. Last year for the period NGC’s share was 14 per cent for the six Metros. This time it is eight per cent. Discovery Travel and Living’s (DTL) share has also gone down from seven per cent to five per cent. At the all India level the shares of NGC and DTL are flat at 13 per cent and four per cent respectively. Animal Planet’s share has also stayed the same at eight per cent for the Metros and 10 per cent for all India.
The History Channel had undergone a repositioning. It is now an entertainment channel with the tagline Live The Story. It shows films, miniseries etc. However its share has only grown marginally from four per cent at an all India level to five per cent. In the Metros its share is flat at three per cent. Its share is comparable to Star World with whom it is now looking to compete for both ad revenues and viewership. Star World has a share of three per cent all India and five per cent in the metros.
Zee Cafe has shown some improvement. Its share grew from one per cent last year to three per cent this year for the Metros and two per cent at an all India level. The English general entertainment channels all have some work to do to catch up with AXN. The action oriented broadcaster has held steady with shares of nine and 10 per cent at an all India and the six Metro level respectively. No doubt initiatives like the ongoing Amazing Race Asia help viewers to keep going back.
UK: The aerial is losing its grip. As broadband becomes the default way Britons watch television, the UK is edging towards a decisive, and divisive, question: should Freeview be switched off by 2034? The issue, highlighted in reporting by The Guardian, has exposed deep fault lines over access, affordability and the future of public service broadcasting.
For nearly 25 years, Freeview has delivered free-to-air television from the BBC, ITV, Channel 4 and Channel 5 to almost every corner of the country. Even now, it remains the UK’s largest TV platform, used in more than 16m homes and on around 10m main household sets. Yet the same broadcasters that built it are now pressing for its closure within eight years.
Their case rests on a structural shift in viewing. Smart TVs, superfast broadband and the Netflix-led streaming boom have pulled audiences online. Advertising economics have followed. By 2034, the number of homes using Freeview as their main TV set is forecast to fall from a peak of almost 12m in 2012 to fewer than 2m, making digital terrestrial television, or DTT, increasingly costly to sustain.
But critics say the rush to switch off risks abandoning those least able, or least willing, to move online.
“I don’t want to be choosing apps and making new accounts,” says Lynette, 80, from Kent. “It is time-consuming and irritating trying to work out where I want to be, to remember the sequence of clicks, with hieroglyphics instead of words. If I make a mistake I have to start again.”
Lynette is among nearly 100,000 people who have signed a “save Freeview” petition launched by campaign group Silver Voices. She fears the government is about to “take [Freeview] away from me and others who either don’t like, can’t afford, or can’t use online versions”.
Official figures underline the fault lines. A report commissioned by the Department for Culture, Media and Sport estimates that by 2035, 1.8m homes will still depend on Freeview. Ofcom’s analysis shows those households are more likely to be disabled, older, living alone, female, and based in the north of England, Wales, Scotland and Northern Ireland.
Freeview is owned by the public service broadcasters through Everyone TV, which also operates Freesat and the newer streaming platform Freely. After two years of review, DCMS is expected to set out its position soon, drawing on three options proposed by Ofcom: a costly upgrade of Freeview’s ageing technology; maintaining a bare-bones service with only core PSB channels; or a full switch-off during the 2030s.
The broadcasters have rallied behind the third option. They argue that 2034 is the logical cut-off, when transmission contracts with network operator Arqiva expire. By then, they say, the cost of broadcasting to a dwindling audience will far outweigh the returns from TV advertising.
Ofcom agrees a crunch point is approaching. In July, the regulator warned of a “tipping point” within the next few years, after which it will no longer be commercially viable for broadcasters to carry the costs of DTT.
Others see risks beyond economics. Questions remain over whether internet TV can reliably deliver emergency broadcasts, such as the daily Covid updates, in the way that universally available DTT can. The UK radio industry has also warned that an internet-only future for TV could push up distribution costs and force some radio stations off air if PSBs no longer share Arqiva’s mast network.
“It is a political hot potato,” says Dennis Reed, founder of Silver Voices, who says he has “dissociated” his organisation from the government’s stakeholder forum, which he believes is “heavily biased” towards streaming.
The Future TV Taskforce, representing the PSBs, counters that moving online could “close the digital divide once and for all”. “We want to be able to plan to ensure that no one is left behind,” a spokesperson says, adding that rising DTT costs could otherwise mean cuts to programme budgets.
The numbers show the scale of the challenge. Of the 1.8m Freeview-dependent homes projected for 2035, around 1.1m are expected to have broadband but not use it for TV. The remaining 700,000 are forecast to lack a broadband connection altogether.
Veterans of the analogue switch-off, completed in 2012 after 76 years, recall similar fears of “TV blackout chaos”. Around 6 per cent of households were labelled “digital refuseniks”, yet a targeted help scheme and a national campaign, fronted by a robot called Digit Al voiced by Matt Lucas, delivered a largely smooth transition.
This time, the BBC is less keen to foot the bill. Tim Davie, the outgoing director general, has said the corporation should not fund a comparable support programme for a Freeview switch-off.
Research for Sky by Oliver & Ohlbaum suggests that with early awareness campaigns and digital inclusion measures, only about 330,000 households would ultimately need hands-on help ahead of a 2034 shutdown.
Meanwhile, viewing habits continue to fragment. Audience body Barb says 7 per cent of UK households no longer own a TV set, choosing to watch on other devices. In December, YouTube overtook the BBC’s combined channels in total UK viewing across TVs, smartphones and tablets, albeit measured at a minimum of three minutes.
That shift may accelerate. YouTube has recently blocked Barb and its partner Kantar from accessing viewing session data, limiting transparency just as online platforms consolidate power.
“When the government chose British Satellite Broadcasting as the ‘winner’ in satellite TV it was Rupert Murdoch’s Sky instead that came out on top,” says a senior TV executive quoted by The Guardian. “There already is such an outsider ready to be the winner in the transition to internet TV; it is YouTube.”
Freeview’s future now hangs on a familiar British dilemma: modernise fast and risk exclusion, or protect universality and pay the price. Either way, the aerial’s days as king of the living room look numbered.
