English Entertainment
‘Broadchurch’ wins Best Drama BAFTA, ‘Breaking Bad’ wins Best Foreign Drama
MUMBAI: The British Academy of Film and Television Arts (BAFTA) has announced the winners of this evening’s Arqiva British Academy Television Awards, celebrating and rewarding the very best programmes and performances of the past year. The ceremony was hosted by Graham Norton at Theatre Royal, Drury Lane, London. The presenters included Aaron Paul (Breaking Bad), Davina McCall (The Jump), Hugh Dancy (Hannibal), Jeremy Piven (Mr. Selfridge), Marvin Humes (The X Factor), Martin Freeman (Sherlock), Mel & Sue (The Great British Bake-Off), Olympiad Mo Farah, Naomi Campbell (The Face), legendary television presenter Paul O’Grady, Ross Kemp (Eastenders), Sam Neill (Peaky Blinders) and Sheridan Smith (The Widower).
Crime drama Broadchurch was recognised in three categories: Olivia Colman won the BAFTA for Leading Actress for her performance as DS Ellie Miller, whilst co-star David Bradley received his first BAFTA for Supporting Actor. Colman’s win takes her career tally to three; she has now won a BAFTA in each of the performance categories. The programme also won a BAFTA in the highly competitive Drama Series category.
The IT Crowd was rewarded in both comedy performance categories, with Richard Ayoade and Katherine Parkinson winning their first BAFTAs for Male and Female Performance in a Comedy Programme respectively. The BAFTA for Situation Comedy went to Him & Her: The Wedding, the first of two awards won by BBC Three.
The BAFTA for Leading Actor went to first-time nominee Sean Harris for his performance as Stephen Morton in Southcliffe, the drama about a small town’s shootings. Sarah Lancashire, another first-time BAFTA winner, took home the award for Supporting Actress, her second nomination in as many years for her performance in BBC One’s popular drama, Last Tango in Halifax.
Ant and Dec, one of the nation’s most popular double-acts, fended off stiff competition from Charlie Brooker, Sarah Millican and ceremony host Graham Norton to take home the BAFTA in the Entertainment Performance category for Ant & Dec’s Saturday Night Takeaway, which also won the Entertainment Programme category. The award for Soap & Continuing Drama returned to Weatherfield as Coronation Street added a tenth BAFTA to its collection.
In its first year at the BAFTAs, Netflix took home the International award for Breaking Bad, the global television phenomenon that follows a terminally ill man on his journey from chemistry teacher to drug lord.
The award for Mini-Series went to BBC Three hit In The Flesh, written by BAFTA Breakthrough Brit and Television Craft Award-winner Dominic Mitchell. The BAFTA for Single Drama was won by domestic terrorism thriller Complicit.
Channel 4 fared well in factual: Bedlam won for Factual Series; The Murder Trial, which saw cameras placed inside a British court for the entirety of a trial, won for Single Documentary; and Syria: Across the Lines (Dispatches) received the BAFTA for Current Affairs, the tenth BAFTA (across Television and Television Craft) for a Dispatches film. Gogglebox, in its first series, was successful in the Reality & Constructed Factual category.
Bringing ITV’s tally to eight BAFTAs, Long Lost Family won in Features and ITV News at Ten: Woolwich Attacks in News Coverage.
Sky achieved success across a range of programming with its three nominations converting to wins in factual, sport and comedy: David Attenborough’s Natural History Museum Alive 3D received the BAFTA for Specialist Factual; The Ashes 2013 – 1st Test, Day 5 took home the award for Sport & Live Event; and A League of Their Own won the BAFTA for Comedy and Comedy Entertainment Programme.
The Radio Times Audience Award, the only award voted for by the public, was won by Doctor Who: The Day of the Doctor, beating Breaking Bad, Broadchurch, Educating Yorkshire, Gogglebox and The Great British Bake Off.
The Special Award was presented to Cilla Black, the entertainer, actress and singer, for her 50-year contribution to British television entertainment.
The Fellowship, the highest accolade the Academy bestows, was presented to actress Julie Walters (Harry Potter films) in recognition of an exceptional contribution to television over 30 years and her ground-breaking work across a range of genres, from serious drama to comedy.
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.
