English Entertainment
AXN targets 30 per cent market share with new shows; sees demand from south India
MUMBAI: Continuing to establish its Live RED strategy from two ends, ie, product to channel and consumers gratification to characteristics is this English Entertainment channel.
Sony Pictures Networks’ (SPN) AXN a few months ago launched a new brand positioning with a new look and feel catering to the changing audience taste. With a more intelligent action offering, the channel witnessed better performance from the south of India than the overall market. With 40 per cent viewership share coming from Kerala followed by 36 per cent from Hyderabad, AXN India sees its traction coming from the upwardly mobile young people of 15-35 age group.
To build upon its familiarity and characters, it has initiated a mixed content proposition consisting of new shows and returning shows with new seasons. It is all geared up to air four new shows starting this weekend in their “Fresh From the US” slot. Two brand new shows that have been added to its library are – Bull and MacGyver whereas the other two are new seasons of cult shows – Supernatural and Elementary.
From taking various steps for its consumer behaviour association to what it stands for, the channel’s efforts at show and characterisation has worked well. It recently rolled out its HD feed, and has numerous advertisers on board from the automobile and ecommerce categories like Pepperfry, Amazon and eBay.
“Whenever we launch a new show under this slot, we make sure that the character, show premise and the grade of the show helps building our strategy. We want to cater to both influencers for whom it is about bringing new shows hot from the US and to the adapters community who are easing into the English entertainment space. They not only watch new shows but also see certain old shows right from the beginning. So when we bring fresh shows from the US, they are available throughout the year,” said SPN India executive VP and business head English Entertainment cluster Saurabh Yagnik.
The channel, which currently has a market share of 18-20 per cent,will continue to back its investments to fulfill its vision to get 30 per cent market share by the end of 2017.
It might also look at producing local content for the viewers though that will not be the core of their strategy. “International shows will be the core for AXN. The viewers come to us for that,” voiced Yagnik. ” If we get into local programming, what we need to be mindful of is the kind of properties we put in the channel today are on top of the line through the production quality. Whatever we do here, we have to deliver to their values and standards. It could be something going forward.”
The story of the young and quirky Angus MacGyver, with unconventional problem solving abilities & vast scientific knowledge will be highlighted in MacGyver every Saturday at 11 pm.
Whereas it’s other new show, Bull will air on Sundays at 11 pm. Brilliant, brash and charming Dr. Jason Bull is not just another psychologist but the ultimate puppet master. He Combines psychology, human intuition and high tech data to win in high-stake trials. The show revolves around the ubersuccessful psychologist and his impeccable style.
AXN is also raising its entertainment quotient on weekends with brand new seasons of iconic shows at 10 pm. The season 12 of Supernatural will be aired on Saturdays whereas detective Sherlock Holmes and Joan Watson in Elementary season 5, will be seen solving mysterious cases every Sunday.
“At AXN, our aim is to offer a wide range of shows across genres that provide mind rush, edge-of-the-seat entertainment and desirable characters. FFUS is one such property that gives all three. It also helps in building the English GEC category – Getting to watch new shows in good quality on their TV sets certainly discourages viewers from downloading content. It’s a win-win situation,” concluded Yagnik.
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.
