English Entertainment
MNX challenges legacy players in the movies category
MUMBAI: The rise in India’s urban educated millennials has also led to the spurt of channels in the English entertainment and movies genre. Over the last few years, several new additions have made their way including MN+, &Prive and Sony Le Plex.
In this space, Times Network has found the right set of audience for all four channels claims Times Network EVP and head English entertainment cluster Vivek Srivastava. He is aware that beating a legacy player is not an easy task. The channel says it has been head and shoulders above HBO in six metro markets.
The group has close to 1500 titles and 25-30 shows for its movies channels. The content comes from four major production houses like Disney, MGM, NBC and Warner which are long term deals. The network holds the second output of NBC after Sony Pictures Network.
English cluster of Sony Pictures Network, on the other hand, picks up the content from Disney, Warner Bros, NBC Universal, Lionsgate and PVR Pictures. &Prive and &Flix of Zeel also have a bigger library with exclusive titles sourced from many independent Hollywood players and studios such as Paramount and PVR.
According to week 32 of BARC data in the six metros, Times Network has two of its flagship channels, Movies Now and MNX, in the top five list. Movies Now is going to be an eight year old brand in December 2018 and is a home for all the blockbusters. On the other hand, MNX, the youngest channel in its English movies portfolio has been consistent in ratings since its launch in July 2017. The company endeavours to broaden the audience base to be in the top five list.
“The quarter is gone by and the revenue of MNX is extremely healthy. MNX actually completes the portfolio. We have a family brand as Romedy Now, a sophisticated brand in MN+, Movies Now is the flagship brand that houses the superhero franchise. All the blockbusters will find a space on the channel. MNX being the youngest brand in the mix, it caters to all audiences and all the various titles get a space on this channel,” Srivastava adds.
In the last two-three years, the Indian audience has evolved and become smarter and knows what to expect. “In this context, the marketing has become a lot easier as the consumer knows the content very well,” he adds. In FY19 Q1, the network got brands like Amazon, Pepsi, Airtel, Trivago, Ford, Flipkart, PhonePe, Myntra to name a few, for all its English movies and entertainment channels.
As far as the category is concerned in terms of revenue, Srivastava estimates the genre to grow by 15-20 per cent more than the previous year’s figure which was Rs 700 crore.
On the content acquisition cost, Srivastava points, “There is a little bit of correction expected in the content acquisition cost as we move forward. The correction will come on account of two things – revenue growth across years in the genre and secondly the evolution of business models as some broadcasters are sharing their first output windows with SVOD players.”
HD is the next array of growth as far as the category is concerned. According to Srivastava, there are only two genres which drive HD viewership, sports and movies. MN+ is an HD-only channel which is performing well, both from a viewership and revenue standpoint.
He gives out the formula for a successful channel as: “To sustain in the category with more than two channels, you should be able to provide fresh content to your target audience. Until and unless you have a distinct identity to the channel it will never succeed.”
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.
