English Entertainment
Disney-ABC to offer hit shows online in May and June
MUMBAI: With an aim to expand its network and channel brands across multiple platforms and connecting viewers with their favorite shows anytime and anywhere, Disney-ABC Television Group will be offering ad-supported, full-length episodes of four ABC primetime series online at www.abc.go.com.
However, this offer will be a part of a two-month-long experiment. Current episodes of Lost, Desperate Housewives and Commander In Chief, as well as the entire present season of Alias, will be available for streaming during May and June, marking the first time a broadcast network has made multiple series available for viewing online, free of charge to consumers.
“The evolution of ABC.com is just one piece of our comprehensive, digital media multiplatform business initiative,” said Anne Sweeney, co-chair, Disney Media Networks and president, Disney-ABC Television Group. “This announcement highlights the momentum we’ve achieved both in launching new broadband services and working with strategic partners in the digital media space, to ensure that our high-quality, informative and entertaining content is available to consumers whenever and wherever they choose.”
ABC is also exploring ways to work with its local broadcast affiliates on these online offerings as they continue to evolve. “Our ultimate goal is to find an effective online model, one in which our affiliates can take part,” stated Alex Wallau,president, Operations and Administration, ABC Television Network. “To that end, we’ll be sharing information from this two-month test in our discussions going forward, and working on ways for them to participate in this new method of delivering ABC programming.”
“Our mission with this trial is to gather key learning about the technology and the consumers who utilize it in order for ABC.com to become the leading broadband digital entertainment experience, packed with innovative, immersive content for our viewers,” said Albert Cheng, executive vice president, Digital Media, Disney-ABC Television Group. “In the months ahead, ABC.com will not only deliver a high quality, on-demand viewing experience to users, but will also gain valuable knowledge and research to help us better understand and serve our consumers in the rapidly evolving digital world.”
As part of the trial, ABC has offered ten advertisers the opportunity to test possible in-stream broadband advertising models as well as the ability to take advantage of sponsorships. The unique interactive video ads will take many different forms and will be seen within each episode. Participating advertisers include AT&T, Cingular, Ford, Procter & Gamble, Toyota, Unilever’s Suave, Universal Pictures and Walt Disney Pictures, among others.
“We have said all along that we are dedicated to finding ways to bring our advertiser partners along with us as we embrace new ways of doing business in the world of digital media,” said Mike Shaw, president, Sales and Marketing, ABC Television Network. “This unique project has allowed us to offer our advertisers the ability to deliver increased effectiveness in their messaging through targeted and engaging interactive ads that offer compelling consumer experiences.”
Combining an all-new sleek, modern design with user-friendly functionality, ABC.com will offer episodes the day after they premiere on the linear channel. Consumers will be able to pause and move back and forth between “chapters” within each episode, but will not have the ability to fast-forward through advertisements. Episodes will be streamed in 16×9 formatting which offers a cinema-like feel to the viewing experience.
Encoded and streamed in Flash 8, which offers the best video quality and allows users on both Mac and PC platforms to watch the video episode, will be offered in two different sizes. The standard viewing size is 500×282 pixels (streamed at 400kbs), and the larger viewing size is 700×394 pixels (streamed 700 kbps).
“Lost” was created by Jeffrey Lieber and J.J. Abrams & Damon Lindelof. Abrams, Lindelof, Bryan Burk, Jack Bender and Carlton Cuse serve as executive producers. “Lost,” which is filmed entirely on location in Hawaii, is from Touchstone Television.
Marc Cherry is executive producer and creator and Tom Spezialy is executive producer of “Desperate Housewives,” which is from Touchstone Television.
“Alias” was created by J.J. Abrams, who executive-produces the series along with Ken Olin, Jeff Pinkner, Jesse Alexander and Jeffrey Bell. The series, which is filmed in Los Angeles and premiered on September 30, 2001, is from Touchstone Television.
“Commander In Chief” was created by Rod Lurie. Steven Bochco, Dee Johnson, Rod Lurie and Marc Frydman serve as executive producers. The series is produced by Touchstone Television in association with Steven Bochco Productions.
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.
