English Entertainment
Colors Infinity to launch amidst 25 city marketing blitzkrieg
MUMBAI: Moving towards a new horizon in the English entertainment space in the country, the soon to be launched Colors Infinity from Viacom18 stable is all set to break new ground by ushering in the growing trend of ‘Essential Viewing’ – An immersive experience of watching three continuous episodes of globally applauded narratives back to back. The channel is expected to launch by July end.
The experience will be further augmented by the ‘First Indian Premiere’ of a new show every day of the week that includes critically acclaimed and multi-award winning series like Fargo, Orange Is The New Black, Better Call Saul, The Flash, amongst others. The channel has been co-curated by Karan Johar and Alia Bhatt, bringing in a great blend of finesse and insight to the channel through curating world class content.
Viacom 18 Group CEO Sudhanshu Vats said, “In 2008 Viacom18 scripted the first few pages of its journey to establish its first milestone in Hindi general entertainment channel (GEC) Colors, thereafter disrupting the genre landscape. In 2015, we once again embark on a journey to recreate history, this time in the English entertainment space with Colors Infinity. Our first home grown English entertainment channel for India, through its many firsts, is all set to subvert convention in the genre through providing a consummate viewing experience.”
In unprecedented acquisition for the Indian market, the network has entered into major multi-year deals with Warner Bros. International Television Distribution, NBC Universal, Sony Pictures Television, Twentieth Century Fox, Lionsgate, MGM, BBC and Endemol Shine amongst others.
Viacom18 EVP and head English entertainment Ferzad Palia said, “Colors Infinity is ready to be the absolute for the best in English language entertainment with its handpicked international content and extensive multi genre offering. Adding to the immersive experience, the innovation of facilitating essential viewing is set to be a definitive game changer through inviting newer audience and growing the viewership pie.”
Palia added, “Till September, we will telecast seasons already aired in the US and update Indian viewers, and then eventually when the new series starts in the US we will have simultaneous screenings. This is something which will stop people from illegal streaming. Fresh content was unavailable to them as channels were telecasting repeats even in the primetime so they were forced to take the pirated route. No one indulges piracy for fun, it’s just that they lack options.”
Launched after a thorough research spanning over 24 months, the network has roped in four brands as launch partners viz. L’Oreal, Renault, Grey Goose and Intigriti. All these four brands will have presence on the channel post launch too.
The launch will be backed by high decibel marketing campaign in over 25 cities across the country. Karan Johar and Alia Bhatt will play the anchor role and every promotional strategy will be orchestrated around them. The promo featuring the Kjo and Alia Bhatt will reverberate both on digital and television. “Most of the creative, promos, packaging, graphics have been created by our in-house creative team and I am delighted that we have such an innovative team who has won many global accolades,” informed Palia.
Programming
1) My Kitchen Rules: Every day, at 8 pm.
2) The Flash Season 1: Three back to back episodes, every Monday at 9 pm.
3)The Musketeers: Three back to back episodes, every Tuesday at 9 pm.
4) Forever season 1: Three back to back episodes, every Wednesday at 9pm.
5) The Big C: Three back to back episodes, every Thursday 9pm.
6)The Orange Is The New Black: Three back to back episodes, every Friday at 9pm.
7)Better Call Saul: Three back to back episodes, every Saturday at 9 pm.
8) Fargo: Three back to back episodes, every Sunday at 9 pm.
The channel will have seven day programming instead of five. Not just this, the 8pm to 12 pm slot will be the primetime slot where original content will be premiered. “Colors Infinity will strictly avoid showing repeats in primetime and will offer viewers exquisite content,” concluded Palia.
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.
