English Entertainment
Romedy Now completes 2 years; commands 58% share in English GECs
MUMBAI: English general entertainment channel (GEC) Romedy Now has completed two years and as per Broadcast Audience Research Council (BARC) India data, the channel today commands 58 per cent share viewership in the genre. Additionally, 18 shows out of the top 25 shows in the English GEC genre are on Romedy Now.
What’s more, as compared to last year, the channel’s ad rates have also gone up by 50 – 60 per cent.
Since its launch on 22 September, 2013, Romedy Now has been home to some of the most romantic movies and funniest shows. Shows like FRIENDS, Ally Mcbeal, Witches Of East End, 2 Broke Girls, Friends With Better Lives and Jane The Virgin have all partnered in the growth of the channel and have contributed to its success.
Speaking on the channel completing two years, Times Network head English entertainment cluster senior vice president Vivek Srivastava said, “The channel has done very well in the last two years in terms of numbers. We are constantly number one in BARC India and TAM Media Research (TAM). Romedy doesn’t command the share of mind but the share of heart and that’s the strength of our brand. The channel command 58 per cent viewership in the genre and in the last 13 weeks, 18 shows out of the top 25 shows in English GEC space are on Romedy Now. That is the power of the content we have. Moreover, Romedy Now is not compared with the movie channels’ segment but with the English entertainment space. That said, even if it were compared with the movie channels’ segment, it holds the leadership position.”
Recently Romedy Now added an extra hour of content with The Ellen DeGeneres Show, which is being simulcast in India with the US. “The mood of the channel determines the content that we acquire and the mood of the channel is happy. So any romantic movie or feel good factor will feature on the channel and that is the kind of content that we acquire,” he added.
Throwing light on the channel’s ad revenue compared to last year as well as the category of clients that have come on board, Srivastava said, “We have almost doubled our revenues as far as Romedy is concerned because it is the only segmented and differentiated brand in the category. It has a very strong appeal so advertisers’ pull on the brand has been fantastic. The ad rates have gone up by 50 – 60 per cent from last year. We don’t have to hard sell the brand and that’s an advantage we have. E-commerce, automobile, jewellery and FMCGs are the big category clients that we have on board.”
As part of the second anniversary celebrations, the channel premiered the Pierce Brosnan and Emma Thompson starrer British comedy The Love Punch on 22 September at 9 pm.
Romedy Now has also launched an anniversary contest called ‘Happy 2gether.’
On the programming front, the channel launched one of America’s best sitcoms – Hot in Cleveland on 21 September, which is being aired from Monday to Friday at 8.30 pm. In October the channel is planning to launch Addicted to Love in the romantic slot at 9 pm, whereas November will see How I Met Your Mother launching. For Diwali, the channel will be airing a special called Diwali Delights as well as the Romedy of the month movie – Girl Most Likely.
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.
