English Entertainment
‘True Detective’ gets off to a great start
MUMBAI: Early buzz suggests that HBO’s brand new original series True Detective, which premiered in India on HBO Defined on 19 January, may well turn out a winner.
With all eight episodes penned by novelist Nic Pizzolatto and directed by Cary Fukunaga, the opening season of the crime drama examines a grisly Louisiana crime through the eyes of the detectives who handled the case.
Matthew McConaughey – who just won the Screen Actors Guild Award for Outstanding Male Actor in a Leading Role for his turn in the Oscar-nominated Dallas Buyers Club – and Woody Harrelson play detectives Rustin ‘Rust’ Cohle and Martin Hart, respectively, as they recall the gruesome murder of former prostitute Dora Kelly Lange, whose body is found with a symbol painted on the back and a ‘crown’ of deer antlers on the head. With the narrative yo-yoing between the 90s when the crime actually took place and present-day, flashback is extensively used.
Speaking to indiantelevision.com about the new series, HBO India managing director Monica Tata said that all HBO originals – series and movies made for HBO by HBO – were classified as premium content and were aired only on HBO Premium channels, that is HBO Hits and HBO Defined, without being punctuated by advertisements or breaks.
“HBO Originals are path-breaking content made for HBO by HBO, which is what makes them premium. Watch these award winning dramas, with stellar performances from the biggest names in Hollywood, 100 per cent ad-free, only on the HBO Premium Channels,” informed Tata. “Apart from being ad-free and break-free on HBO premium channels, HBO originals are available within a week of the US premiere, which sets them apart from competition on other English GECs. As True Detective will be airing on the HBO Premium channels, no ads or breaks will be seen during the show. Each episode is close to 60 minutes in length, which TV lovers can watch on HBO Defined 100% ad-free and break free.”
Asked if the series is suitable for prime time viewing, Tata replied: “HBO is known for its award-winning and critically acclaimed HBO original series and movies that air at prime time on HBO Premium channels, within a week of the US premiere. HBO originals are a key driver of our programming strategy for our premium channels and give consumers 100% ad-free entertainment.”
So how many seasons of True Detective do they plan to air? “The only TV series that HBO airs on its channels are HBO and Cinemax originals. Our content rights are for all commissioned seasons. As and when new seasons are added, rights for the same are acquired for the region,” she said.
Given the dark nature of the series, were there a lot of cuts? “All content that airs on our linear channels in India is edited to meet the expectations and requirements of the Indian market. Our content team takes great care to edit content in ways such that we can align these expectations without compromising on the viewing experience. Our target audience is in the age group of 15-44,” she responded.
What was the marketing strategy? “Our overall marketing message is focused on promoting HBO originals as cornerstones of the HBO experience. For the same, we have adopted a 360-degree approach that communicates with prospective subscribers of HBO premium channels from all directions and across long periods of time,” informed Tata.
So will audiences see more such gripping and compelling dramas now that True Detective is already on air? “HBO premium channels air a wide range of HBO original content. Starting with True Detective, viewers will get to see Hollywood’s biggest names in TV series and movies made by HBO for HBO. HBO originals have been a key part of the programming strategy for HBO premium channels since their launch in 2013. New seasons and series’ premieres for 2014 begin airing mid-January onwards. In 2014, not only will HBO Premium Pack subscribers get to watch the latest HBO original series such as True Detective, the year will also be filled with new seasons of existing popular HBO original shows such as Game of Thrones, The Newsroom, Boardwalk Empire, and many more,” Tata answered.
She emphasised that since HBO premium channels are completely ad-free and break-free there is no sponsorship or on-air advertising. They are available for subscription on all major DTH and cable platforms across India, with a reach of approximately 30 million homes. The primary viewership, like other English movie channels, comes from metro audiences. The rights to broadcast all HBO original content rest with HBO Asia.
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.
