TV

Free to Air Cricket

Today brings some interesting news, with the ECB actually allowing some free-to-air cricket on TV screens in the future. The BBC has done a deal to see the return of cricket to its channels for the first time since 1999.

You will recall that in 1998, Channel 4 secured the rights to most international cricket, notably including Test cricket. One Test was aired on Sky, who until that point had made do with smaller competitions and notably overseas tours.

In many respects Channel 4 really improved TV coverage, and despite some awkward business of trying to show both cricket and Channel 4 Racing on the same afternoons (with Film 4 often being used as an overspill channel), they were very successful.

In its final season Channel 4 saw a peak audience of over 7m watch England win the 2005 Ashes. Thousands turned out for an open-top bus parade that ended in Trafalgar Square.

Cricket was on top.

And then, for the most part, it disappeared from our screens. Sky had outbid Channel 4 for exclusive coverage of all domestic cricket. The ECB had taken Sky’s cash ahead of any interest in keeping the game alive.

The ECB continued to work exclusively with Sky renewing deals right through until 2019.

The only free-to-air cricket that appeared on our screens were Channel 5’s highlights packages and some IPL cricket on ITV4 (Which has since also moved to Sky). There’d be an occasional tourist game against Scotland on the red button but that was it.

Earlier this year, the BBC did show highlights of the ICC Trophy, and we have also seen some in-game digital clips appear on the BBC website. But for live cricket, you “only” had the unparalleled Test Match Special.

In the meantime participation in cricket had fallen, and most counties were now propped up financially by the ECB.

T20 had come along, and while the riches of the Indian Premier League might seem impossible to replicate in Britain, the success of Australia’s Big Bash seemed distinctly replicable.

That tournament runs for 35 nights in a row on free-to-air Channel Ten, garnering significant audiences for its city-based franchise structure. (It should be noted that Channel Ten is suffering severe financial pressures currently, and either rival Channel Nine will win the rights next time around, or some of the games may go subscription only).

So the ECB has now conjoured up a city-based franchise format, meaning that some big counties will miss out and need to be paid off. That also means that the new format will be in addition to the existing T20 Blast series which will continue to be competed at county level.

And then of course there are the existing four day County Championship games as well as one day competitions, all of which need to be squeezed into the cricket season.

Add into the mix central contracts, extended period of Big Bash, IPL, one-day internationals, T20 internationals and Tests, all of this means that big names are rarely seen in their “home” counties.

Still, that’s the mess of contemporary cricket.

Which all brings us to today’s news that the BBC has done a deal for cricket with the ECB. It doesn’t start until 2020, because Sky still has exclusivity until 2019. But the BBC will be showing:

  • Two England men’s home T20s (of a total of 4-6?)
  • One England women’s home T20
  • 10 matches from the domestic men’s T20 city-based franchise series, including the final (out of a total of 36 matches, all of which will be on Sky)
  • Up to 8 matchs from the women’s T20 city-based franchise series including the final
  • Highlights of home Tests, One Day Internationals and T20 Internationals
  • Highlights of women’s internationals
  • Digital clips of men and women’s internationals, plus County Championship, One-Day Cup and T20 matches
  • Test Match Special wins radio rights to all competitions through until 2024

So the live coverage will exclusively be T20 formats, with other competitions receiving highlights treatment.

Sky has regained rights to everything else, including exclusive live coverage of home Tests. BT Sport, which is thought to have bid, has not come away with any rights. Notably, it has bought rights to Australian cricket meaning that it will be the exclusive rights holder to the Ashes Tour this winter (assuming the massive pay dispute there is sorted out).

In total, the deal is said to be worth £1.1bn over five years – quite a jump from previous deals, with Sky’s last deal £260m over four years, and then extended a further two. That said, there wasn’t significant growth over the last two deals. This all suggests Sky sees a great opportunity in the new T20 competition.

Still, this all goes to show that getting eyeballs in front of your sport is essential if you want to see any significant growth in it. And perhaps other sports will learn from this.

The ECB has learnt the hard way.

Sky Sports Revamp

Sky Sports is reportedly getting a bit of a makeover, losing the numbered channels currently known as Sky Sports 1-5, and instead gaining sports-specific channels.

Currently the channels are roughly being used as follows:

Sky Sports 1 – Football
Sky Sports 2 – Cricket, Rugby, Football
Sky Sports 3 – Football, Tennis
Sky Sports 4 – Golf
Sky Sports 5 – Football
Sky Sports News
Sky Sports F1 – F1
Sky Sports Mix – (Available on cheaper non-sports Sky tiers) Simulcast of one of the above, Dutch/Spanish Football or smaller sports like Netball, Drone Flying etc.

It sounds like this list is going to be rationalised into:

Sky Sports Football 1/Premier League
Sky Sports Football 2/Football League/Spanish etc.
Sky Sports Cricket
Sky Sports Golf
Sky Sports Arena (Including Rugby and Tennis)
Sky Sports F1
Sky Sports News
Sky Sports Mix (Assuming this continues)

In some respects, this simplifies things a little. It seems that what Sky wants to be able to do is offer a cheaper entry to its sports packages. Recall that BT Sport retail its sports offerings from as little as £5 a month for a streaming package, and £7.50 for those with Sky (and a BT Broadband internet connection).

Currently the cheapest way of getting Sky Sports on TV is £49.50 a month (based on taking the cheapest Sky Original Bundle before adding the full Sky Sports pack to it, with Sky only offering packages with their new Sky Q box). According to The Guardian, this will allow Sky to charge £18 for its cheapest partial sports offering.

But I do foresee a few problems with this plan.

First of all, it seems likely that the cheapest offering will not be football, rights costs for which have shot up. I would anticipate that either cricket or golf will be the cheapest offerings.

Then there’s the issue of sustaining full channels of some of these sports around the clock year long. Sky Sports F1 is something of a joke outside the season, and is largely filled with filler outside of race weekends. Quite why it didn’t become a broader motor-sport channel has never been obvious to me.

You also have the issue of major sports that don’t fit in. What about Rugby League or NFL, both of which have significant followings and carriage deals with Sky.

But more to the point, as someone who takes the full Sky Sports package, I would love to pay less and drop sports I’m not interested in. Namely Sky Sports Golf and the misery that is Sky Sports F1 (Seriously, why would I pay to hear Martin Brundle?).

At time of writing, it’s not clear when these new packages will go live, and I’ve not seen the price breakdowns across the different packages.

There’s also the not insignificant matter of third parties who currently get Sky Sports 1 and 2 on a wholesale basis. Although formal “must-offer” conditions have previously been removed, Ofcom has said that it would take a keen interest in any move that removed Premier League football from other platforms.

It would seem like that Sky would continue to retail football. But nearly all Sky’s major sport appears on those Sky Sports 1 and 2 currently – so even if golf usually finds its home on Sky Sports 4, it gets a bump up during, say, The Masters or the Ryder Cup. Lions rugby is on Sky Sports 1 right now, and next week England’s Test series against South Africa will start on Sky Sports 2.

While the Premier League channel might be one, what would the second be? At the moment, if I subscribe to, say, Sky Sports on BT TV, I can watch Premier League football, Test cricket and Lions rugby. What happens in the future? The easy answer would be for Sky to allow its channels to be retailed more fully on other platforms. (I did also wonder if the recent news about Sky and Virgin sharing Sky’s targeted advertising technology might mean that Sky Atlantic was made available to Virgin Media homes?). But we shall have to wait and see.

With the Fox takeover of Sky still in the balance following yesterday’s news that it’s being referred to the competition authorities, it will be interesting to see how Sky plays this.

What Should a Kids’ TV Channel Show When Kids Should Really Have Gone to Bed?

If your child likes watching CBeebies or CBBC in the UK, then you will know that both channels have cut-off times. At 7pm, the broadcast spectrum used by CBeebies is re-purposed as BBC Four, while CBBC’s spectrum will soon become a BBC Scotland TV channel.

Either way, there’s nothing to watch on the broadcast stream once the channels go off air.

In the commercial world, that’s not usually the case. Nick Jr is showing Peppa Pig in the small hours of the morning; Boomerang is showing LazyTown; and while the Disney Channel does shutdown, it waits until midnight after an 11.15pm Hannah Montana and an episode of Groove High.

When I was in Denmark recently I noticed that the main state broadcaster’s kids channel, DR Ramasjang, aimed like CBeebies at 3-6 year olds, did something amazing at night.

The service broadcasts until 8pm each night, and then it goes into an overnight mode. Essentially it runs a video of all the characters that appear on the service tucked up in bed and asleep!

A camera pans across each character’s “bedroom” in a way that lets kids see that each of their favourite characters has gone to sleep. The implication being that if they’ve gone to sleep then you should go to sleep too. It also reinforces this message should any errant child sneak out of bed and turn on the TV in the middle of the night.

It’s a simple, yet really clever thing. I assume that you only need to make an hour of footage and then loop it. And all you really need to do is plan to shoot a short “sleeping” sequence whenever you commission a new show for the channel. All the sequences are shot in the same way, the camera panning from darkness, left to right, to allow for easy editing.

Judging from YouTube, they’ve been doing this for quite a few years. Anyway, here’s an hour of DR Ramasjang’s “godnat” sequence from 2016:

Daytime TV Killed the British Bank Holiday

What do the following film genres mean to you?

  • War films
  • James Bond
  • Carry On films

To me they all scream Bank Holiday TV. You may have had plans to go out somewhere, but an annoying drizzle meant that you’d rather stay at home and see what’s on the box.

But in fact, that’d be wrong.

Maybe the Bank Holidays of yesteryear were like this, but these days you’d be hard pressed to differentiate a Bank Holiday’s output from any other Monday’s programming. No longer do we get much in the way of specials, one-offs or film premieres. There’s relatively little live sport left on free-to-air TV, and instead, the regular daytime schedule is extended into the Bank Holiday regardless.

Is the family at home? Or are you having a bit of a lie-in? No longer do you get to feast your eyes on anything different. It’s the regular diet of Jeremy Kyle, Homes Under the Hammer, Escape to the Country and Loose Women.

Indeed flicking through the dreary line-up during the recent May Day Bank Holiday, I had to sense-check that I hadn’t somehow taken a standard day off work by accident. It was wet outside, and if I wanted some actual entertainment, it’d be either be a DVD or Netflix.

But perhaps I was wrong? Was Bank Holiday TV that good in the past? I decided to find out by exploring previous listings.

I’ve taken a look at the TV on Spring Bank Holidays – the last Monday in May – over the last forty years by looking at the Radio Times every ten years from 1977 to date. (I didn’t have access to the TV Times, so ITV and Channel 4’s listings only start in 1997.)

1977

I said above that the last Monday in May is the Bank Holiday, but in 1977 the Spring Bank Holiday was the following week because this was also the Queen’s Silver Jubilee celebration weekend. The Radio Times featured an embroidered image of the Queen on the cover of their Souvenir Issue.

BBC One’s daytime schedule was sport focused. Following a Laurel and Hardy film, it was one-day England v Australia cricket and then Frank Bough presenting a Bank Holiday Grandstand that also featured Powerboat Racing (Murray Walker on commentary duties), Racing from Chepstow and Athletics from Leicester.

BBC Two opened at breakfast for some Open University programming, before closing down at 7.55am. It opened again briefly for Play School (Julie Stevens and Brian Cant), before closing down once more. It only reopened after lunch for the film Holiday in Mexico, before showing the end of the cricket.

The BBC One early evening started with Disney Time presented by Noel Edmonds, a showing of the film Scott of the Antarctic, The Music of Morecambe and Wise and a regular Starsky and Hutch. After the news, it was Silver Jubilee: Fires of Friendship, featuring live coverage of beacons being lit spreading out from Windsor up and down the country. Raymond Baxter presented it, and the Radio Times carried a handy map of all the bonfire sites. The evening ended with the film I Start Counting starring Jenny Agutter and Bryan Marshall.

BBC Two was also showing a patriotic film that evening with Laurence Olivier’s Henry V. That was followed by Neil Diamond, an episode of Women at War and a short play under the banner of Second City Firsts.

1987

In 1987, Noel Edmonds was the Radio Times cover as host of the SOS Star Awards on Saturday evening. But we’re going to concentrate on Monday’s TV.

For BBC One, that meant a Monday edition of Grandstand featuring England v Pakistan one-day cricket, the golf PGA Championship and coverage of The Milk Race cycling (with Phil Liggett and Hugh Porter on commentary duties).

BBC Two’s daytime saw You and Me, followed by several hours of Pages from Ceefax, before a Walton’s TV-movie spin-off, and continued cricket coverage took over.

Later in the evening, BBC One had Wogan, Bob’s Full House, Ever Decreasing Circles and then the film Staying Alive. After the news, there was an all-star celebration of 100 years of Hollywood.

BBC Two gave over the entire evening to the opera Turandot, broadcast live from the Royal Opera House and simulcast on Radio 3. It ended the evening with highlights of some the day’s earlier sport.

1997

In 1997, the cover featured Lenny Henry.

BBC One had Herbie Goes Bananas, followed by Disney’s Robin Hood. After a brief visit to Ramsey Street for Neighbours it was three hours of Spartacus.

Over on BBC Two there was Steve Rider presenting the PGA Championship from Wentworth for much of the day. But there was still time for Teletubbies, The Phil Silvers Show, and the film Rancho Notorious.

ITV was basically showing films all day. A fantasy film called Master of the World, starring Vincent Price and Charles Bronson (together at last?), Captain Ron with Kurt Russell, and then a true classic in Rio Bravo.

Channel 4 had a series of repeats including Bewitched and The Crystal Maze, before the film Challenge to Lassie and then Racing from Sandown Park. They did find space for Fifteen to One and Countdown.

Channel 5’s schedule looked more normal than most with regulars like Leeza, The Bold and the Beautiful, Family Affairs and Sunset Beach. But it did have the premiere of Teenage Mutant Ninja Turtles III in the afternoon (Strong competition for that I’m sure).

Into the evening and BBC One had Red Nose Awards, Auntie’s TV Favourites, and Here and Now, with Sue Lawley interviewing The Spice Girls. A regular Eastenders was followed by Radio Times cover star Lenny’s Big Amazon Adventure and the start of a new series of Birds of a Feather. Following a later than usual news, it was the premiere of the film Staggered with Martin Clunes. Carry on Camping rounded off the evening.

BBC Two had Computers Don’t Bite with Carol Vorderman and Adrian Chiles, Mr Bell Goes to Westminster following Martin Bell taking on Neil Hamilton in Tatton, The Antiques Show with Francine Stock and Tales from the River Bank. The big film was Lorenzo’s Oil with Nick Nolte and Susan Sarandon.

ITV had regular episodes of Wish You Were Here…? and Coronation Street. Then it had A Royal Gala for the Prince’s Trust, hosted by Sir David Frost and Joanna Lumley and featuring Gary Barlow and Jennifer Aniston.

Channel 4 was celebrating Sitcom Weekend all that evening, including Desmond’s, George and Mildred, Rising Damp, Father Ted, Cheers, and the film Up Pompeii.

Channel 5’s evening saw the premiere of, er, Revenge of the Nerds IV: Nerds in Love, and an episode Jack Docherty’s chat show.

2007

In 2007, Daniel Craig (as James Bond) was the cover star, and the magazine included a free “Giant Springwatch Wallchart.” It also asked the question of the latest Doctor Who episode: “Is this the scariest episode ever?” (Talking about the episode Human Nature).

By now, the schedules were feeling a little less special. BBC One had a morning of Animal Park, Homes Under the Hammer, To Buy or Not to Buy, Cash in the Attic and Bargain Hunt. Not that different to 2017 in some respects. After lunch it was old episode of ‘Allo ‘Allo!, Keeping Up Appearances and Murder, She Wrote. Then we got films of The Parent Trap and Father of the Bride Part 2.

BBC Two began with blocks of CBeebies and CBBC programming before running the popular TV movie High School Musical. This was followed by the John Wayne film, The Comancheros, followed by regular episodes of Living in the Sun, Escape to the Country, Flog It!, Eggheads and Weakest Link.

ITV was also now running a nearly normal schedule of The Jeremy Kyle Show, two episodes of 60 Minute Makeover, Loose Women, half an Inspector Morse repeat (part one had been the previous Friday), and For the Rest of Your Life. At 4.00pm it ran the 1983 film, Agatha Christie’s Sparkling Cyanide.

Channel 4 broke up its regular morning block of sitcom repeats with Mighty Morphin Power Rangers: the Movie, a Pirates of the Caribbean 3: T4 Movie Special and the film Alaska with Thora Birch and Charlton Heston. It ended the afternoon with Countdown, Deal or No Deal and The New Paul O’Grady Show.

Channel 5 was showing a standard set of The Wright Stuff, Trisha Goddard, House Doctor, House, and then the films/TV movies, The Madness Within and Perry Mason: The Cast of the Lost Love.

BBC One’s evening was basically a standard issue Monday evening with Celebrity Masterchef, an Open All Hours repeat, EastEnders, Panorama, New Tricks and Not Going Out.

BBC Two’s evening was also standard fare, with a new series of Springwatch, the third in a documentary series Power to the People and only The Pledge with Jack Nicholson being an unusual film addition. At midnight viewers could spend two hours with Springwatch Nightshift.

ITV’s evening was mostly identical to any other, with Emmerdale, Coronation Street, Airline, more Coronation Street, and then the film Ocean’s Eleven. The evening was rounded off with The Championship featuring play-off highlights.

Channel 4 at least had a film in early peak with the premiere of Star Trek: Nemesis before the documentary Brits Get Rich in China. Then it was ER, Sport’s Dirty Secrets and late night repeats of Sex and the City.

Channel 5 had Airplane! Before highlights of the cricket (long gone from free to air TV), Fifth Gear, Paul Merton in China, Prison Break and the film Anaconda.

2017

Which all brings us right up to date, and I’m embedding some of my patented* (*they’re not patented) annotated Radio Times pages into this blog. This week’s edition has a The Beatles and Sgt Pepper because, er, there’s a re-issued CD boxset out?

(Click through if you can’t read what it says)

Radio Times 29 May 2017

This is near enough a completely usual Monday. All the daytime staples are there. The tiny amount of sport consists of highlights packages. The PGA golf, long a Bank Holiday tradition, now finishes on a Sunday like every other tournament, and is live on Sky, like every other tournament.

Only Channel 5 actually makes an effort, running a classic film in the afternoon (The Searchers), and launching their new mini-series sequel on The Kennedys.

The only way you’d know it was a Bank Holiday from these schedules would be to notice that the news is either shortened or completely missing from the schedules. Otherwise, it’s as you were.

Summary

The shift away from holiday programming to regular scheduling hasn’t been a fast one, but in recent years it feels like it has sped up.

In the 70s and 80s we didn’t really have daytime TV – indeed channels might actually shut down for a bit. But that left space for sport, for which there was no satellite competition. And the end of the football season meant that there was a range of sport available. There have always been films, but truth be told, they’ve not always been great. There have been some titles here that the best film critic would need to go away and look up.

Yet today, we’re almost at a point where the most you can expect is that the news might get shortened a little, BBC Two might run a film in place of Newsnight, and that’s about it. We don’t get special events, or one off specials any longer. Daytime and evening schedules run year around, and make little to no account for anything else. Certainly, if I’d been examining the May Bank Holiday, I’d have included the World Snooker Championships, long a staple of BBC TV over the period. But it feels like schedulers don’t really make the effort any longer.

Undoubtedly, Britain’s Got Talent and Springwatch are big draws for their respective channels, but there’s not even a non-soap drama to be found (unless you count Channel 4’s Loaded which is more drama-comedy).

It is true to say that we don’t get nearly as many repeats as we used to (a curious Guardian piece recently asked if the age of repeats was at an end. I would argue that this has long happened). Most drama on the main channels is first run in primetime. Even massive hits like Line of Duty or Poldark don’t get peaktime repeats.

And it’s also true that we have more access to entertainment. In the seventies, you’d have to wait until ITV showed Jaws before you got a chance to see it. Only with the rise of VHS, satellite TV, DVD, downloads and Netflix, did the audience gain control. However, ITV will still run one-off Maigrets, while the BBC and Channel 4 can have premieres of some of the films they’ve backed.

We’re said to be in a golden age of television; indeed “peak TV.” There’s so much good stuff, or “must-see TV” that we struggle to keep up. Are you watching the new seasons of House of Cards? Or The Leftovers? Or American Gods? Or Twin Peaks? Or The Americans? Or Doctor Who?

Season 7 of Game of Thrones is coming soon, perhaps you want to binge watch the previous six seasons? Or seven seasons of The Walking Dead?

Instead of moaning that ITV hasn’t bothered to change its Bank Holiday schedule from a normal one, perhaps I should understand that they know beyond their regular audience, anyone else watching TV will be doing so on their own terms. Watching iPlayer, Netflix, YouTube, Amazon, ITV Hub, Now TV or Walter Presents boxsets.

Bank Holiday TV is a thing of the past.

BBC Store is closing; Streaming v Ownership

Back in 2015 I took a look at the then new BBC Store. It had opened in a blaze of publicity after a relatively long gestation period. Visitors could buy to own BBC catalogue programmes as well as some of the latest dramas and comedies. Since then, announcers have mentioned the ability to buy programmes from the BBC Store (and other outlets) regularly over the end credits of series.

In 2015 I wrote:

“And of course everything is full of DRM meaning that long term, I can’t be certain I’ll have continued access. From the help section:

We cannot guarantee that you will be able to stream or download content that’s in My Programmes forever. However, when our right to make content available is due to expire, we will do our upmost to inform you of this by email so that you have the opportunity to download and then continue to playback the content through the BBC Store Download Manager.

“If I had DRM free copies of course, I could make them part of my back-up regime, and should the BBC Store ever close down, I wouldn’t lose anything, or be reliant on technology that might have limited or no future support. This is the key issue with all DRM-d media, and it’s why for the most part I continue to purchase physical copies ahead of DRM-filled downloads. Even though there is encryption on DVDs and Blu-rays, they can be ripped, and I can maintain access once players become redundant (I confess, I’m not looking forward to days of ripping however).

This week we learnt that the BBC Store is closing down in November after around two years in operation. Those words about DRM have proven to be prescient.

The first series I bought from the BBC Store was Tender is the Night, a 1985 Dennis Potter dramatisation of the F Scott Fitzgerald novel. This has never been made available to buy on DVD. It may have been on VHS for a period, but the only streaming version of the novel is a 1962 film.

After November, I will lose all access to this TV series. The DRM locked version that I bought will no longer play.

Now it’s true that the BBC Store is giving me a full refund, or slightly more if I accept Amazon vouchers. But the problem is that there is no DVD for me to buy.

The chief reason given for the store closing is that ownership isn’t the preferred model for consumers. They prefer the all-you-can-eat offers from the likes of Netflix and Amazon Prime Video.

But while that works for popular fare, that leaves a vast proportion of the longer tail of TV and film out in the cold.

A site called NewOnNetflix reckons the UK version of the site has 4,228 films and TV series across all genres. That sounds like a vast figure. But actually it’s a drop in the ocean. Go to the page that lists films by year and you will quickly discover that prior to 1941 whole years are missing.

In 1939, for example, the following films were released:

Gone With the Wind
Mr Smith Goes to Washington
Goodbye, Mr Chips
The Wizard of Oz
Gunga Din
The Women

Classics all, yet none are on Netflix. Now I can certainly buy all of those on DVD, and Amazon Prime may have one or two, but the point is that both Amazon and Netflix are offering highly curated – and limited – catalogues. Films and TV series come and go from the platforms. Aside from programmes they funded themselves, they acquire the rights for limited periods of time. I can’t be certain with rental that I can absolutely watch Gone With the Wind on any given day.

Now of course I can go to somewhere like the iTunes Store, or the Google Play Store, but even there, the range is surprisingly limited. Google Play doesn’t have Goodbye, Mr Chips or The Women, for example. (I will in fairness note that Amazon doesn’t carry a region 2 DVD of The Women, but does make it available to stream or own digitally, while Goodbye, Mr Chips is available as an inexpensive DVD, as well as digitally to own or rent).

In the end, its market forces that determined that the BBC Store needed to close. If not enough people are using it, then the business model doesn’t work. But I do dispute the idea that a Netflix or Amazon subscription is a complete solution. So while bona fide hits like The Night Manager, Line of Duty or War and Peace are available on the various platforms, other series very definitely are not. At this point in time, physical media is still the providing the greatest depth of range – with a significant number of specialist labels ranging from Network DVD to Second Sight and beyond, offering a vastly greater depth of catalogue than streaming is currently offering.

Streaming may well be the future, but right now I wouldn’t be without my DVD/Blu-ray player!

Meanwhile all of this is another case to prove that DRM is fatally flawed in the longer term. While I may be getting a full refund, I’d have preferred to have kept the programme.

Believe in Worse: Sky’s Streaming Options

You often hear that we live in a digital non-linear TV world. That’s not actually true. We very much live in a linear television world with lots of people watching television live. But why let the truth get in the way of a good story.

But I digress.

It’s certainly true that digital streaming is now a key part of television. iPlayer, Netflix, ITV Hub, Amazon Prime and so on. Binge watching The Crown or catching up on last night’s Broadchurch – it’s all part of the many ways we watch TV.

Sky is part of that, and it offers Sky Go. Available as either an app or via a PC browser, it’s theoretically the equivalent of the aforementioned platforms. Except it’s much worse, and seemingly deliberately so.

With a regular Sky account you get two logins for Sky Go, which seems generous. More specifically, it means two devices. So your phone and your laptop perhaps. But not your tablet, or your partners’ or kids’ tablets as well. Sky will sell you Sky Go Extra for £5 a month. That gives you four devices and adds in offline downloads – saving mobile data and useful for long car, train or plane journeys. But that’s a facility most of the others offer free.

Sky doesn’t want to make it free because they know your kids would be just as happy streaming on an old iPad as watching a TV in another room, and they make very good money selling families in particular extra boxes on the same subscription for another £10-12 a month. Those families would quickly cancel multiroom and make their kids put up with a tablet if they were able to.

But it means that the Sky Go experience for most users is, at best, sub-optimal. On a long train journey over the weekend, I could binge watch Netflix, Amazon, ITV, C4 or iPlayer programmes should I have chosen to – downloading them first before travelling. But not Sky – at least not without streaming via mobile data, which was impossible in some locations, or paying them even more money (£5 versus £7.50 for an entire Netflix subscription!).

Those issues are nothing to trying to watch Sky Go on a PC.

The most popular desktop browser is Chrome.

Sky Go doesn’t work with Chrome.

The second most popular desktop browser is Firefox.

Sky Go doesn’t work with Firefox.

Microsoft’s current browser, shipped with Windows 10, is Edge.

Sky Go doesn’t work with Edge.

It doesn’t work with Opera either.

It only seems to work with Internet Explorer, and perhaps Safari on Macs. The final version of Internet Explorer was released in 2013. There won’t be another version. While Internet Explorer did also ship with Windows 10, Microsoft is very keen to move IE users over to Edge. Edge was the default browser in the version of the OS that Microsoft offered free, to hundreds of millions of users.

The reason for Sky Go only works with positively ancient web browsing technology and doesn’t work with any of the latest browsers, is because it also relies on Microsoft SilverLight. SilverLight is another, now deprecated piece of software that delivers video streams in an encrypted fashion.

Microsoft announced the end of life of SilverLight back in 2012. It’s now 2017, and as is made clear above Microsoft’s own current browser, Edge, does not work with SilverLight.

So why is Sky still using it?

I can only think that it’s something to do with how it limits you outputting your video. You see while most of the other video service providers are more than happy for you to watch their wares on your big screen using either a cable (e.g. an HDMI lead), or something like Chromecast, Sky really doesn’t want you to do that.

They don’t build Chromecast into their Sky Go app. They restrict you outputting the signal via a digital output like HDMI (I don’t believe they can restrict an analogue output like a VGA connection, but VGA connections are found in fewer home computers these days, and require a second cable to output the sound).

Again, this comes back to Sky not wanting using to be able to output to a big screen. When I’m away visiting my parents, Sky allows us to crowd around my laptop screen to view a match, but doesn’t allow me to output it to their TV set.

It’s positively user-unfriendly. And I say this as someone who spends a lot of money on my monthly subscription with Sky.

While I understand it’s part of their business plan, it’s notable that BT Sport, for example, is very happy for you to, say, Chromecast a game to another TV set somewhere.

Sky says, “Believe in Better.”

Yet it offers the single worst streaming experience of any major UK broadcaster.

The Nightly Show

Before ITV launched The Nightly Show into the 10:00pm weekday slot I said that we should avoid comparisons with US late evening talk shows since contrary to popular belief, it’s not trying to be one, and we should hold off looking at the ratings until it had settled into something a bit firmer.

This kind of show will never hit the ground running. There will be teething problems and the show will have to learn what kind of beast it actually is. It’s completely naive to expect that it will come to our screens fully formed no matter how much piloting there had been prior to launch.

I’m not going to claim to have watched every episode thus far, indeed I’ve only watched a handful. But I think that now we’re a few weeks in, we can get a more reasonable handle on what it should and shouldn’t be doing.

The initial round of criticism came as much as anything from ITV’s choice of first guest host – David Walliams. It really shouldn’t have come as a shock that his humour is broad and a little rude. Had nobody seen Little Britain? He was never going to be making incisive political humour at the expense of Donald Trump or Brexit. Instead we had lots of pre-recorded bits where he dressed up as women, as well as some slightly underwhelming interviews. Martin Clunes is a nice guy, but they really needed a bigger name to launch the show. The problem with Walliams is that he’s not all that interested in having a talk with a guest. Instead, he’s always looking for the next gag.

That was completely different in week two, when John Bishop took over. He’s got more experience in this area having already recorded a series of long-form interviews for W, and is recording some more for a second series. His week saw him carry out a more conversational style presentation with interviewees including Roger Daltrey and Martin Kemp. These interviews ran on a bit longer too.

In Walliams’ final Friday show, he’d had Bishop on as a guest (this would become a regular thing, as hosts passed on the baton – literally a microphone unlike any the show actually used), and when Bishop listed his upcoming guests for the new run of his W show, it seemed to be a slightly more inspiring list than guests he had lined up for The Nightly Show the following week!

Actually, the whole piece was very meta with a tacit acknowledgement that week one hadn’t worked and Bishop being ever-so-slightly barbed in his criticism of the show.

Incidentally, at time of writing, that video has less than 2,500 views. On the show’s YouTube channel, many of the videos have only scraped into four figures. Only some clips featuring boxers seem to have found any traction.

A top tip to whoever’s running the show’s YouTube channel is to include some kind of description along with the video – one video simply has the word “amazing” in the description.

Another intriguingly says “Ant and Dec get a taste of their own medici,” while seemingly having nothing to do with the dynastic Florentine banking family.

I’d guess that not properly including descriptions really won’t help people to find the videos from a Google search.

The third week saw Davina McCall take over the reins, and there seemed to instantly be a return to week one, with a pointless 60 second quiz that David Walliams had tried in his first episode (it didn’t work then, and it didn’t work now), as well as lighter guest interviews that elicited little to nothing from guests Boy George and Vicky McClure in the first show.

There is no shame in a daily show like this burning through ideas. You try something; it doesn’t work; you move on. If something does work, then great, you can bring it back another time.

In a recent Radio Today Podcast, Danny Baker mentioned, somewhat in passing when talking about the Sausage Sandwich Game on his Five Live Saturday morning show, that Chris Evans would create fairly solid “bits” each week on TFI Friday, that would then get flung away permanently in place of whatever else floated his boat the following week. He was burning through ideas on a weekly show. For a daily show, you really need to keep delivering new ideas at a rate of knots.

The only difference otherwise I could see was the addition of an Ellen-style DJ booth to the set, although the DJ seemed mostly interested in displaying his Beats headphones than doing much in the way of DJ-ing.

By the end of the week, the show seemed to have become some kind of dating show, perhaps recalling Streetmate, Davina’s breakthrough show from the late nineties, with overly produced segments of first dates and dating stories. Mel C was a guest, but Davina was barely interested in the answers to her list of questions, and Mel had been much more entertaining earlier in the week on Alan Davies’ show over on Dave.

And simply reading unfunny gags from an AutoCue does not make for a monologue.

I admit that I was tiring by week four, when Dermot O’Leary came on. He’s a safe pair of hands, but this was light entertainment writ small. He had a pianist on for no obvious reason, and was just a bit average.

Wednesday saw a terrorist attack in Westminster, and ITV dropped the show in favour of the news starting earlier at 10pm. Running pre-news on the day of a tragedy is always going to be tricky, and over on Dave, they didn’t show Matt Forde’s show either that night (even though it had been recorded the previous day).

At this point you have to wonder how successful the show is commercially. Aside from the Amazon Echo sponsorship credits, I saw barely any actual ads in the centre break. And the audience figures have not been great, being heavily reliant on hits like Broadchurch to get anything vaguely half-decent.

In my first piece, I said that we should be careful making comparison with American shows, and I tend to be in agreement with Richard Osman who explained quite clearly on Radio 4’s Media Show that he didn’t think this was an attempt by ITV to replicate that kind of show, whatever everyone’s preconceptions are.

He said that he wouldn’t be presenting because it wasn’t that kind of show. It’s an ITV show and it’s on in peak, so in effect it’s an extension of the kind of shows ITV runs on Saturday nights. Indeed Kevin Lygo, ITV’s Director of Television, said himself in his Guardian interview:

“This is a sort of LWT version of ITV. It’s loud entertainment, high-quality drama, and fun.”

In essence, this is Saturday night ITV stripped across the week.

If you’re actually looking for something a bit more ascerbic – more John Oliver than David Walliams – then you should really have been looking at Dave on Wednesday nights, where the aforementioned Unspun with Matt Forde has been running. It’s overtly political, seemingly modelling itself on The Daily Show with “correspondents” and has the traditional band that many US talk shows have. Although MP4 includes three serving and one former MP, always left me wondering how they’re always available for studio recordings, until the week when the SNP’s Pete Wishart was late to the recording due to Parliamentary business.

What next for The Nightly Show? Well they have a few more weeks to go, with upcoming presenters including Gordon Ramsey, Bradley Walsh and Jason Manford (so one woman in seven announced presenters).

I think they do need to settle on a permanent host. Having someone different come in each week to mould a show around is just unnecessarily hard at a time when the overall show’s tone is still finding its feet. Being a guest host on something firmly established, like Have I Got News For You, is much easier. There’s less of a learning curve, since the guest host knows what’s expected of them. Even then HIGNFY regularly returns to the same guest hosts each series.

The Nightly Show desperately needs that stability, as otherwise it’ll veer around week after week.

I think they probably need a larger roster of writers too. You’re going to burn through material at quite a rate on a show like this – at least you are if you’re not going to let mediocre material make it to air. That means a large writers’ room with people vying to get material into each night’s show.

That also means that you won’t end up burning out your writers, while at the same time, it keeps the quality threshold high. With all the attendant criticism, it must be really hard to be a writer on that show and not doubt what you’re doing. It also probably means they take the safe option all the time, and that’s not what that show needs right now.

And I’d also suggest that if you’re picking someone, theoretically randomly, from the audience, it does seem strange that they’re sitting in a camera-friendly place, and they’re already mic-ed up.

There is a tendency too in UK TV criticism to want to see a show fail. I don’t mean a big drama. If SS-GB doesn’t hit everyone’s critical buttons then never mind. There’ll be another Sunday night drama along in a minute.

The critical column inches about The Nightly Show have not really stopped since the show began. And I realise that I’m contributing to them in my own small way. Of course part of that is brought on by the show’s format itself. Each week a new presenter means that there’s an excuse for a new critical appraisal. Is this week’s presenter better than last week’s? Remove that obstacle and the show can settle down a bit.

I suspect that News at Ten Thirty will stay in that position. Although ratings have been hit since the move, a stronger offering in the 10pm slot could help. I’m not convinced that’s 90 minute dramas incidentally. I would imagine that they’re incredibly hard to sell internationally for one thing. And they also demand a lot more from the viewer. But a few edgier sitcoms, and a panel show or two might work there. Shorten “Play to the Whistle” for example (60 minute panel shows are always overlong); move Harry Hill to that slot; actually try something a bit more political.

There is definitely room for some incisive satirical TV, and we really don’t have it on British TV. There’s Have I Got News For You, and that’s basically it. BBC Two has just announced The Mash Report (a working title) with Nish Kumar, which is indeed coming from The Daily Mash. Certainly this will be something to look out for.

BT/UEFA Rights Deal

08 March 2009

Last week, BT Chief Executive Gavin Patterson was reported as saying that “rampant inflation in sports rights” had to end.

Today we learn that BT is going to pay £394m a season for UEFA Champions’ League and Europa League rights from the 2018/19 season, up from £299m a season under the previous agreement.

By my calculation, that’s a 31.8% increase over three years.

What was that about “rampant inflation” again?

BT’s new deal also includes all rights to highlights, meaning that there won’t be any TV highlights on ITV. Instead, BT will share free highlights in social media.

Hmm.

And of course UEFA is going to an 1800/2000 GMT/BST structure on Champions’ League match days, meaning lots of UK residents will still be at work or commuting while matches are taking place, as already happens with the Europa League. Oh good.

Prior to this deal being announced there had been lots of rumours in the press that UEFA advertisers were unhappy with the loss of free-to-air coverage.

One estimate suggests that being a tier one partner of the Champions’ League costs $70m. There are eight main sponsors of the Champions’ League (Heineken, Mastercard, Gazprom, Sony, Nissan, PepsiCo, Adidas and Unicredit), and if we assume that they all pay the same, that’s $560m a year in sponsorship revenue (Approx £460m).

UEFA’s calculation is that £100m more for UK rights is worth it, set against £460m of pan-European sponsorship revenues, and any reduced reach for those advertisers within the UK market for their premier competition.

This feels like a very short-term deal.

There is a quote in BT’s press release that says:

BT will enhance its social media coverage to reach new audiences, by making clips, weekly highlights, UEFA’s magazine show, and both finals available for free on social media. BT streamed both finals last year on YouTube for the first time, taking the number of people who watched BT’s live coverage of the finals to more than twelve million. The company will also seek to bring the best of the action to its large mobile customer base.

That suggests that only the final will be made available free. Everything else will be behind a BT paywall. No BT Showcase any more. There’s the possibility of BT sub-licencing some matches to another channel, but absolutely no guarantee they will.

I’ve examined the 12m number before, and it is to be regarded very carefully indeed. First of all 12m is not 12m different people – it’s the sum of the Champions’ League audience and Europa League audience. Football fans being who they are, that’s a lot of the same people who watched both matches.

And as I mentioned in the previous article, BT is using “reach” rather than the more usual “average audience” to get as big a number as they can. Last week 3.45m watched a one-sided FA Cup replay between Man City and Huddersfield. 3.45m means that at an average of 3.45m watched the entire broadcast from 1930-2200. Audiences aren’t constant, and once Man City were well ahead, audiences drifted away to other programmes. Other people turn on late and perhaps watch the last half an hour. Overall, at any given point in the entire match 3.45m were watching. But BT is using a reach number – the number of different people who watched any of the game. This is necessarily bigger. And it’s not a number that would normally be bandied around by a broadcaster when talking about viewership of their shows.

Finally, without a great deal more information we can’t be sure what the 3m YouTube component of the audience really means. First of all, the Champions’ League final had 1.8m views, meaning the Europa League must have had about 1.2m. YouTube registers a view when someone watches as little 30 seconds. So this almost certainly doesn’t mean 1.8m or 1.2m watched the entire match. And again, many of the same fans will have watched both matches.

Digging into BT’s YouTube channel doesn’t seem to surface the complete live videos any longer. There are just highlights packages. There are a couple of short videos with several hundred thousand views each, and it’s not clear if these were once the live streams (I suspect they may have been), or just incredibly popular promo videos, but either way, we need to be careful what we’re counting. Interestingly, the CL promo has around 470,000 views while the Europa League promo has over 600,000 views. If they were the live streams, then that doesn’t total 3m.

To be fair to BT for one moment, a single YouTube view does not equal a single viewer. Many will have been streaming to smart TVs with sizeable numbers potentially watching. But online video views can be a murky business, and the methodology is completely different to the BARB measurement for TV, meaning combined audiences figures should be treated with tremendous caution.

I suppose in the end, I find it incredibly disappointing that either a single match isn’t made available to ITV, C4 or C5, and that highlights are removed from TV altogether. Saying that you’ll make highlights available in social media is a nice addition, but shouldn’t replace a broadcast channel. Many older viewers in particular will struggle to see footage now. It’s the elderly and poorest in society who don’t have access to the internet for streaming and the devices necessary to enable them.

UEFA clearly doesn’t care about those viewers. BT will pay more for complete exclusivity, which they now have. And if you either can’t afford BT, or don’t have the means or ability to watch their social streams, then tough luck. No European football for you.

If this were any other sport – I’m looking at you, cricket – you’d question the ramifications for the future of the sport by striking this kind of lockout deal. But this is football, and the major competitions are always likely to be important.

The only tiny bit of hope is that Karen Bradley, Culture Secretary, recently talked of “future proofing” listed events like the World Cup. Would free-to-air Champions’ League highlights ever be included in that list?

Incidentally, if you were in Belgium, Germany or Italy, you’d be able to see, at minimum, the finals of the Champions’ League or Europa League of a home club reached the final, because of rules regarding listed events in those countries.

A 32% increase in fees? This time next year, the next Premier League TV deal will be being announced. I bet over in Gloucester Place, the Premier League is rubbing its hands in anticipation of next year, unless BT and Sky reach some kind of appeasement in respect of their relative positions in the TV football marketplace.

More “rampant inflation” to come?

[Later] An interesting piece in The Guardian about BT’s need to win these rights following a fairly miserable year for them. Although I would make a couple of points:

  • Only in football could a 32% increase in rights fees be considered to have cooled a little. BT drove the last round of increased fees by making a knockout bid. This time, they’ve still paid a substantial premium at a time when Sky “…did not look to submit a knockout Champions League bid.”
  • The Guardian piece notes that Sky is paying £11m a game under its current deal compared with £1.1m a game for BT’s UEFA deal. But that’s not really a fair comparison because Sky’s Premier League games are not all played simultaneously. In the group stages there are sixteen matches per round, spread over two nights. Even with two timeslots a night, that means at least three out of four matches will be behind a red button. And you can only watch one match at a time. Even watching the “goals” show, it means that a Tuesday evening is costing £8.8m for BT in rights fees. Sky only schedules a couple of simultaneous games on the final day of the season if there’s something to be played for. Yes, there’s “Super Sunday”, but you can watch both games.

In Advance of The Nightly Show

This evening, ITV launches its big new entertainment gamble – The Nightly Show. They’ve taken over The Cochrane Theatre near Holborn, and for the next eight weeks they’ve also taken over The News At Ten’s slot. (Recall, this is the slot that only a year ago, the then Media, Culture and Sport Minister was wondering if the BBC should vacate to let ITV have an unimpeded run. Hmmm.)

There have been four weeks’ worth of pilots, and the USP of the show is that it will have different guest host presenters each week, beginning with David Walliams tonight. John Bishop and Gordon Ramsey are also lined up.

I confess that I’ve heard a couple of slightly off-putting things in advance of the show. There’s the suggestion that it won’t be especially political, which is odd in these political times. In an interview in The Guardian today, Kevin Lygo, ITV’s Director of Television is reported as saying:

‘”It’s not satire with a capital S,” he says. “They’ll poke fun at the news in a broad way, just as most chatshow hosts do.”‘

With a hope that they create lots of viral videos, it feels like it wants to be more James Corden than Samantha Bee or John Oliver.

But you have to set that against a time when we’ve got Brexit, May, Corbyn, Farage, Trump, and right-wing nationalism across Europe. While I wouldn’t necessarily suggest bringing it back (they already tried to an extent with Newzoids), Spitting Image was nothing if not political.

So I wonder if hidden camera japes and audience surprises are quite right? In any case, don’t Ant & Dec already do that with aplomb on Saturday nights?

Interestingly, in the US, Stephen Colbert has recently been overtaking Jimmy Fallon for the first time, with the suggestion that it’s because he’s taken a more political line following the election of Trump. Colbert comes from a background of devastating political satire on Comedy Central; Fallon ruffled Trump’s hair.

I also think we need to be bit careful making comparisons with some of these US shows.

Jimmy Fallon, Stephen Colbert and Jimmy Kimmel all air at 11.35pm on the coasts, not 10.00pm as The Nightly Show will. James Corden and Seth Myers air at 12.35am; long after any sensible person with a job has gone to bed.* This is also why producing viral videos like Carpool Karaoke segments is so important for Corden and his peers.

Calling a show that airs at 10pm a late-night show, is not just misleading, it’s wrong. Upwards of 10 million people are still watching UK TV at that time.

It’s also worth noting that the biggest chat show failure of recent times in the US, was when NBC gave Jay Leno a nightly 10pm slot for a while when he stepped down from The Tonight Show (before booting out Conan O’Brien and dropping Leno back in at 11.35pm, in a particularly unedifying moment in US late night TV show history). Arguably that was a different type of show, and the TV landscape at 10pm in the US is very different to ours.

However, one thing is clear. This show will undoubtedly take a bit of time to find its legs. So tomorrow’s overnights, which will be eagerly pounced upon, along with those of its leadout show, series three of Broadchurch, should be taken with a large pinch of salt.

As for the pushing back of The News at Ten – which becomes simply The ITV News, no doubt without the bongs – I would suggest ITV simply settles in that slot on a long term basis. It then won’t compete directly with the BBC, and at 10.30pm there’s no reason why both a more analytical Newsnight on BBC2, and a more mainstream ITV News can’t exist simultaneously. The downside for ITV is that on really big news days, the ratings for the BBC Ten O’Clock news will soar, while late local news bulletins and football highlights will take ratings hits.

* In the central timezone, these shows are on an hour earlier. But the over 60% of the US population gets these shows at the later time.

Sneaky Pete

I only seem to write about television very occasionally these days. I suspect I struggle because there’s so much to catch up on at any given time, there’s no time left for writing.

Sneaky Pete is a new series from Amazon Studios provided free to their Prime customers. The hook as far as Amazon is concerned is that the series comes from Bryan “Breaking Bad” Cranston and David “House” Shore. To my mind, the most important behind-the-camera talent is the executive producer, Graham Yost, who has most recently been responsible for the excellent Justified, and also excellent The Americans. He actually took over Shore as showrunner when the pilot, originally ordered by CBS, moved to Amazon. As a result, the pilot has been around on Amazon’s service for 18 months now, ahead of the series finally arriving.

Marius (Giovanni Ribisi) is a con-man completing a short prison sentence for holding up a bank. His cellmate, serving a longer sentence, is Pete. Pete endlessly refers to his idyllic childhood, boring Marius to tears. But we soon learn that Marius had attempted to con Vince (Bryan Cranston). So instead of returning home, where Marius remains $100,000 in hock to Vince, he decides to head to Bridgeport, Connecticut, where he will impersonate his former cellmate Pete.

Family relations had long broken down, and Marius/Pete now thinks that he might be able to score some cash from the wealthy Bernhardt clan, led by Audrey (Margo Martindale).

Can our fake-Pete convince the family that he is who he says he is, inveigle his way into their home, and then raise the money he needs to save his brother Eddie (Michael Drayer) from Vince’s clutches?

Along the way, we meet the dysfunctional Bernhardt family including grandfather Otto (Peter Geraty), and cousins Julia (Marin Ireland), Taylor (Shane McRae) and Carly (Libe Barer), who work in the family’s struggling bail bonds firm, the local police or are a troubled school child.

In some very limited ways, this does remind you of the set-up to the very different Banshee in which a new sheriff was impersonated in a small north-eastern town.

The real hook in this series is that Pete is a con-man, and we see him thinking on his feet, stealing wallets, phones and watches to further his cause. I’m a complete sucker for this kind of thing, loving the references to The Spanish Prisoner, the mark, long and short cons, convincers, ropers and inside men. I will happily watch any series or film that plays out like this.

The real problem, though, is that so many of us have seen The Sting, Grifters, House of Cards or Hustle, that it’s hard to do something genuinely different. So Sneaky Pete is not about a con-of-the-week setup. Instead we have someone utilising their confidence trick skills to keep their head above water, and one or two larger cons playing out over the ten episode run of the series.

In particular, you have some well drawn characters who don’t always behave the way you expect them to. Police officer Taylor is shown to be a bit of a clown earlier on, but he’s not really anybody’s fool, and Marius/Pete’s relationships with some of the previous women in his life isn’t as one dimensional as would sometimes be the case in this kind of series.

Cranston really only has a supporting role in this series, but he’s properly nasty as Vince, while Ribisi seems to inhabit the role of a confidence trickster perfectly. Lots of faces are familiar from other Yost series, including the peerless Martindale, Julia’s ex Lance (Jacob Pitt) and Vince’s lover and ex member of Marius’s gang, Karolina (Karolina Wydra).

The series does a nice side in colourful supporting characters. I’d have liked to have seen more of Marius’s parole officer James Bagwell (Malcolm-Jamal Warner) who drives around listening to motivational tapes, and categorising his parolees as “eagles” or “shitbeards.” Michael O’Keefe is wonderfully sadistic bent cop, and Virginia Kull is great as Katie, who’s trying to lead a normal life, but kinda still loves the thrill of the con.

Alison Wright, familiar to fans of The Americans, shows up as another confidence trickster, Marjorie. I confess that when I heard her accent, it seemed to be the one duff note of the show. Was she trying to British? Perhaps Irish? I couldn’t place it. Whatever it was, I thought “She needs a dialect coach.” Then I realised that Wright is actually British (from Sunderland), and that was her real accent. Ah.

The series concludes nicely but ends in a way that lets them go straight into a second series, and Amazon has wasted no time in renewing it which pleases me a lot.