English Entertainment
A+E Networks joins hands with Vice to launch Viceland
MUMBAI: A+E Networks and Vice Media have inked a joint venture – Viceland that will offer Vice as a new 24-hour channel programmed and produced exclusively by Vice.
A+E Networks’ channel H2 will be transitioned to Viceland. H2 is an international channel brand in over 68 territories, which will continue to operate outside the US.
Launching in early 2016, Viceland will be distributed in approximately 70 million homes, and will feature hundreds of hours of new programming developed and produced entirely in-house by the creative minds of Vice.
A+E Networks president & CEO Nancy Dubuc said, “Vice has a bold voice and a distinctive model in the marketplace. This channel represents a strategic fit and a new direction for the future of our portfolio of media assets. Shane Smith has led Vice from a fledgling magazine into a global media brand and all of us at A+E are excited to work with him and his passionate and innovative team.”
Oscar-winning writer & director Spike Jonze, a long-time Vice partner and creative director for the company, has been overseeing the development of the new channel, from show creation, to production, to brand identity.
“It feels like most channels are just a collection of shows,” said Jonze. “We wanted Viceland to be different, to feel like everything on there has a reason to exist and a strong point of view. Our mission with the channel is not that different from what our mission is as a company: it’s us trying to understand the world we live in by producing pieces about things we’re curious about, or confused about, or that we think are funny. And if it doesn’t have a strong point of view then it shouldn’t be on this channel.”
Viceland will launch with a full slate of prime-time shows, including Gaycation (with Ellen Page and Ian Daniel), Huang’s World (with Eddie Huang), Noisey (with Zach Goldbaum), Vice World Of Sports (with Sal Masekela), Black Market (with Michael K. Williams), Flophouse, Party Legends, Weediquette (with Krishna Andavolu), and more.
The launch of Viceland coincides with Vice’s growth across online and mobile. There’s a growing white space in the realm of Gen-Y programming, and to fill that void Viceland will offer engaging, original content covering fashion, food, music, sports, and more. The new network represents a critical build-out for the company: Vice will now be producing gold-standard content for all three screens.
“This network is the next step in the evolution of our brand and the first step in our global roll-out of networks around the world,” said Vice co-founder and CEO Shane Smith.
“First: It allows us to be truly platform agnostic and enable our audience to view our content wherever they want. Second: It represents a continued growth in our content quality and raises the ceiling even higher for our brilliant teams to attack stories from long form features to multi-episode series and even short form interstitials that will challenge the accepted norms of current TV viewing. Third: We will test new and innovative monetization strategies placing VICELAND at the pointy tip of the spear of the rapidly changing terrain of TV advertising,” informed Smith.
He further added, “All in all, this new network allows us to continue our innovation in storytelling and content creation and take it to the next level. We couldn’t be happier working with Nancy and her team at A+E and we couldn’t be more excited to offer this opportunity to our Vice family of partners, producers, shooters, editors, and staff, to go out and make our indelible imprint on the cultural fabric of this modern age.”
Drawing on Vice’s history as an innovator in branded content online, Viceland plans to work with brand partners to re-imagine the nature of the television commercial too—making the commercial time a valuable extension of the entertainment programming itself, and keeping viewers engaged, even as they follow Vice content across screens and formats.
A+E Networks will oversee technical operations and distribution and will work with Vice on ad sales and sponsorships. Vice will also handle all marketing across all platforms, utilizing its various relationships with partners across mobile and digital.
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.
