English Entertainment
MIPCOM: Keshet gives New Form to digital scripts
MUMBAI: Global production and distribution powerhouse Keshet International (KI) and New Form, announced a partnership to distribute three of the latter’s millennial- and youth-targeted digital scripted series, launching them to buyers at MIPCOM. KI will seek out both linear TV and digital opportunities for the series internationally.
KI will offer New Form’s comedy, sci-fi adventure and dark thriller series, all of which are available or soon to premiere in the US on Verizon’s go90 mobile OTT platform, as part of a 20-plus title MIPCOM slate that is Keshet’s largest, most distinctive and diverse ever.
New Form produces content for mobile-friendly platforms and premium destinations hungry for high-quality content with great stories and value. In addition to go90, the destinations include Vimeo, Refinery29, Fullscreen, YouTube Red and CW’s The Seed.
“New Form has been at the forefront of creating original premium digital content for new OTT players in the US,” said Keshet International digital & acquisitions SVP Sebastian Burkhardt.
“With these three remarkable new series, we now have the unique opportunity to expand their reach beyond the booming US market to both linear TV networks – with reformatted 30- and 60-minutes versions – and OTT services throughout the rest of the world.”
“Partnering with Keshet on the international distribution of three of our signature series is a significant step forward for our long-term strategy of creating, producing and distributing high-quality programs that have wide millennial appeal across multiple viewing platforms around the world,” said New Form business development SVP JC Cangilla.
Two of the three New Form series appearing at MIPCOM have already premiered on go90 in the US: The high school comedy Mr. Student Body President – A charismatic student body president and his Machiavellian chief of staff give “high school politics” a new meaning as they battle for power over pep rallies, gossip, and grades, with all the ambition and fervor of hardened Washington operatives. Starring Jeremy Shada (Adventure Time, Parenthood, ParaNorman), Arden Rose (1.3 million YouTube subscribers) and Christina Moore (True Blood, That 70s Show, MADTV).
The Streamy Award-nominated sci-fi adventure MISS 2059 – An intergalactic sci-fi adventure about a beauty queen on Earth who is mistakenly selected to represent humanity in a life-or-death Galactic tournament. Starring Anna Akana (1.4 million YouTube subscribers, Ant Man, The Fosters), Nikki Soohoo (The Lovely Bones, Stick It, Private Practice) and Hartley Sawyer (Geek & Sundry’s “Caper”, The Young and the Restless, The McCarthys).
KI will also offer Cold, set to premiere in the US on go90 this month on October 13:
Her mother brutally murdered… her father in prison for the horrific crime… 16-year-old Isla Wallis returns to her remote hometown to discover the truth about what really happened to her family. Now, alone and abandoned in the icy wilderness, Isla will be pushed to the edge of survival as she fights to expose the killer and save more than just her own life. Starring Annalise Basso (Captain Fantastic, New Girl, Ouija 1 & 2, Oculus, True Blood), Todd Lowe (Gilmore Girls, True Blood, Criminal Minds, NCIS), Jim True-Frost (The Wire, Boardwalk Empire, Hostages), and Marcus Johns (6.5 million Vine followers, Expelled, Rock of Ages)
Additionally, Keshet will be adding a homegrown series, Aces to the list of digital offerings on their full MIPCOM slate. Created by Moti Adiv, Yoni Zicholtz and Jonathan Bar Ilan and produced by Keshet Broadcasting, Aces quickly became Israel’s number one digital series and subsequently migrated to Keshet’s linear channel. The show provides a hilarious fly-on-the-wall peek into the world of five poker buddies when they let loose during their Friday night card game.
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.
