English Entertainment
Movies Now, Romedy Now on growth trajectory; ups ad rates
MUMBAI: The English movie and general entertainment channels’ genre is a fragmented space, where ranks keep changing every now and then. In order to maintain their position well above competition, channels adopt various strategies. Two such channels from the Times Television Network (TTN) are Movies Now and Romedy Now. While last year, the channels dipped to the number four position in the genre, the two have recently tasted some success.
Speaking to Indiantelevision.com, Times Television Network senior vice president and English Entertainment cluster head Vivek Srivastava says that both the channels have been at the number one position during the last 18 to 20 weeks. “Smart acquisitions, smart scheduling and smart segmenting has been our success mantra,” claims Srivastava.
When queried on how the channel increased its market share, Srivastava says that they first identified the weakness, which were poor distribution and lack of exclusive content.
“Firstly, the channels had not been distributed optimally. We plugged the leak by going city to city and getting the channels distributed on platforms targeting one cable operator after another. Secondly, on the content front, Movies Now lacked premieres. To cope with this, we signed strong output deals with studios like NBC and Sony,” informs Srivastava.
The Bones series, Harry Potter series and the Battleship are some franchises that has worked well for Movies Now. The channel now aims to have one big movie premiere in a month. While Movies Now currently has 20 per cent market share, Romedy Now stands at 28 per cent, informs Srivastava.
Romedy Now showcases English shows as well as movies. “It’s been one and a half years since Romedy Now was launched and the channel has been number one in the genre. We realised there is space for segmentation and the channel is a segmentation success,” opines Srivastava.
The channel has seen tremendous repeat value from the popular series F.R.I.E.N.D.S. and the movie P.S. – I Love You. “Instead of simply deciding to put up a show on the channel, we follow mood segmentation where content that fits the happy and romance sphere is aired. The channel sees a good response during the 7.30 – 9 pm slot during weekdays,” says Srivastava.
However, while on the one hand, the network has decided to discontinue the Romedy Now HD channel as it did not perform as per expectations, on the other it has pinned high hopes on its new baby Movies Now+, which is the HD version of the channel. Srivastava informs that the channel is available on all HD platforms and has certain content lineup that is different from the SD feed. TTN will simulcast The Wolf Of Wall Street on Movies Now and Movies Now+ soon.
To cope with viewership fluctuations during the upcoming Indian Premiere League (IPL), the network will premiere a big ticket movie right in the middle of the IPL timetable. It will be simulcast on the two movie channels. Apparently the channels see a viewers dip by 15 to 20 per cent during IPL.
Realising that the channels have regained their lost market share, TTN has also decided to hike its advertising rates.
The network will be leveraging the muscle provided by its mother company – The Times Group – that has newspapers, radio, OOH, broadcast network and Internet companies under its umbrella, to help build its marketing campaign this year.
The English movie viewership for the channels mainly comes from the eight metros and is also seeing a strong viewership pattern from one million plus towns. Moreover, the 1 pm afternoon slot is the second most important slot for the channel after the primetime. It is 15 to 24 year olds who mainly contribute towards the 1 pm slot.
Outlining the challenges ahead for the channel, Srivastava lists three major factors. “First is the completion of digitisation and how it shapes up. This would ensure that the channel gets its required reach. Secondly, packaging of the content is a major challenge and we will be addressing that issue in the coming months. Finally, measurability is a key challenge. In the existing scenario, we feel that we are not represented as we should have been. We are hoping BARC should give us the depth that is needed,” he says.
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.
