English Entertainment
KI’s ‘Rising Star’ selected as flagship entertainment show to launch on new Cambodian Channel
MUMBAI: Keshet International (KI)’s trailblazing interactive talent format Rising Star has been licensed by the brand new Cambodian broadcaster Town TV. Building on its existing talent management agency and production company, Town Group will launch its new free-to-air channel in late 2016/early 2017 with RISING STAR as its flagship, prime-time weekend entertainment show. The must-see series will be produced in-house by Town TV.
Keshet International Asia head Gary Pudney said, “Rising Star is only just starting its life cycle in Asia. A success for CCTV China and RCTI Indonesia – which is soon to air its second season – it has proven its appeal with Asian audiences. I’m delighted that Town TV has chosen to brand its exciting new channel with Rising Star as the tent pole in its weekend schedule and am certain this is the first of many more deals throughout the region.”
RCTI will begin airing its second season this winter. Season one aired successfully and won a Panasonic Gobel Award for Best Program Talent Show & Reality Show in 2015. The format has also aired across China on state TV channel CCTV-3, where it achieved higher ratings than The Voice and a 30% growth in audience share from the first episode to the last. The finale was also the leading programme of the night across the whole of China.
Earlier this week KI announced two new hires in Asia, Sales Managers Cherry Lu (Beijing) and Kelvin Ko (Hong Kong). Both will report into KI’s Head of Asia Gary Pudney who has outlined the company’s intention to develop fully-fledged local production entities in China and India over the next two years. Since the opening of KI’s dedicated Hong Kong Asia HQ in late 2015 – following earlier successes such as the first season of MASTER CLASS China, which amassed more than one billion views online alone, RISING STAR China and Indonesia, and Spy(MICE) Korea – KI has licensed a number of its hit formats and premium dramas across Asia. The company recently announced the Indian remake of its premium award-winning drama format, Prisoners of War with one of the country’s leading general entertainment channels, Star Plus. The second 12 episode season of its children’s singing format MASTER CLASS, produced locally by 3C Media, has just finished airing on Beijing Satellite TV and Sichuan Satellite TV, and was the no.1 most engaging TV show (by click rate) on the social media site Weibo. KI Asia has also closed deals for MASTER CLASS in Vietnam (TTN Media Corp.), its branded entertainment car game show Trade Up in China (CCTV-2) and its original variety game show Who’s On Top in Indonesia (RCTI). RCTI is also home to series two of KI’s interactive talent show RISING STAR which will air this Winter. As well as selling into Asia, KI is actively acquiring content from the region and staffing up its local operations.
Produced by Tedy Productions for Keshet Broadcasting, Rising Star became the fastest-selling talent show on record when it launched in October 2013, now more than 250 episodes of the show have aired with upwards of 160 million votes tallied worldwide. In Brazil it has become one of the country’s most popular shows with unprecedented activity on social media – some 41 million votes were cast across two seasons and a third season is currently in the pipeline. The show aired successfully in Portugal and beat off competition from the World Cup football fixtures throughout season one. Both season one and two of the show also rated well in Argentina, with more than two million users downloading the Telefe app and 22 million votes cast across both seasons.
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.
