English Entertainment
Discovery Channel wins big at Asian academy creative awards
MUMBAI: Achieving a new milestone, Discovery Channel has scored an impressive hat trick by bagging top honours for three phenomenal shows Man vs Wild with Bear Grylls and Prime Minister Modi, India 2050 and Man, Woman and #MeToo at the Asian academy creative awards, held recently in Singapore.
One of the most popular episodes of the adventure show Man vs Wild with Bear Grylls and Prime Minister Modi won the award for the best non scripted entertainment. The documentary India 2050 produced by Wide Angle Films for Discovery Channel, India received an award for best direction while, Discovery Channel’s documentary on patriarchy and its various ramifications in Indian society which was produced by Vice India, Man, Woman and #MeToo, won the award for the best current affairs programme or series.
Man vs Wild with Bear Grylls and Prime Minister Modi features survivalist Bear Grylls as he embarks on an adventure into the jungles of India with India’s Prime Minister Narendra Modi. This special episode had been shot in the Jim Corbett National Park, and showcased a frank and freewheeling journey, throwing light on wildlife conservation and highlighting issues related to environmental change. The adventurous pair even had to make a raft & cross a jungle river together!
India-2050 takes a hard-hitting look at the existential threat of climate change in India. Combining visual effects built on projected outcomes, with compelling human stories from across the nation, this is a riveting, first-of-its-kind account of the impending climate crisis. The documentary begins with Jaipur, known as the pink city of India, but imagined as in 2050, completely buried under piles of sand. It then moves into the future of currently flourishing metropolises of Delhi, Chennai, Mumbai and Kolkata, giving viewers a terrifying glimpse of what is to come, for each of these metro cities.
Man, Woman and #MeToo, while tracing the #MeToo movement across India, delves into the origins of patriarchy in the country, the magnitude of the problem and how each one of us has played a part in it – as enablers, almost on a daily basis. It also features specialists who explain the reasons of India's inherent patriarchy through real-life examples and case studies.
Entertainment factual & lifestyle original content PR director Sai Abishek said, “It is our constant effort to offer world class documentaries to discerning Indian fans which not only entertains them but also encourages and inspires. I am proud to learn that India 2050 and Man Woman and #MeToo have been recognized globally with these wins at the Asian Academy Creative Awards, Singapore. Another feather in our cap and a testament of our constant endeavour to deliver impactful documentaries. It is also a delightful feeling to have Man vs Wild with Bear Grylls and Prime Minister Modi bring home yet another prestigious win.”
Man Vs Wild With Bear Grylls and PM Modi is produced for Discovery Networks Asia-Pacific Pte. Limited by Bear Grylls Ventures & Electus a Propagate company, where Bear Grylls, Delbert Shoopman, Rob Buchta and Elizabeth Schulze are executive producers and Ben Simms is co-executive producer. India 2050 is produced by Wide Angle Films for Discovery Channel while, Man, Woman and #MeToo is a Vice India production. All three titles are streaming now on India’s first aggregated real-life entertainment streaming app- discovery+.
The Asian academy creative awards (AAA’s) have been established to serve the creative industries as the pinnacle of their achievement in content creation and media production.
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.
