English Entertainment
Ex-Nine Network chief Pallister to head TWI’s Australia operations
MUMBAI: Television production firm TWI has secured the services of the Nine Network’s former head of entertainment Glenn Pallister to grow its production business in Australia and New Zealand.
Pallister joins TWI Australia on 24 October as director of programmes and content creation. He comes with a wealth of experience and relationships in content production, both in the entertainment and sports fields, gleaned after 22 years at Nine.
He was a cameraman before switching to a production career that encompassed several of Australia’s lynchpin entertainment shows and specials including executive producing the series The Footy Show. Pallister will be based in Sydney where he will be responsible for expanding TWI’s production output in the region across all genres and platforms, at a time when TWI is already busy making preparations as host broadcaster for the Melbourne 2006 Commonwealth Games.
TWI senior VP, production and business development Alastair Waddington said, “I am delighted to welcome someone of Glenn’s calibre and reputation to TWI. He really does understand and have a passion for content production from every angle, having worked his way up through the ranks at Nine. I know he will make a great contribution to TWI’s business aspirations for the future as we continue to develop our activities across the world.”
Pallister said: “I was lucky enough to receive offers from several other companies but I am thrilled to be joining TWI whom I’ve long admired for their professionalism and expertise. I spent many happy years at Nine, working on some fabulous programmes but this is a great opportunity to create something new in a very fertile and exciting environment.”
Pallister joined Channel Nine straight from school where he enrolled as a trainee cameraman, working on numerous cricket series, MTV concerts and eight seasons of Ray Martin’s midday show, where he won a Penguin Award for excellence. He then moved into production including Wide World of Sports, and The Footy Show from its 1995 debut until 2004 when he was appointed Nine’s Network Head of Entertainment. He was responsible for a portfolio which also included This is Your Life, Australia’s Funniest Home Video Show, Comedy Inc and special outside broadcasts like the Logies. He also co-created and developed Celebrity Circus and Skating on Thin Ice, and was responsible for Nine Network’s participation in the Tsunami Relief Concert and Telethon.
TWI is the television, broadcast and new media arm of sports marketing agency IMG, which was acquired last year by Forstmann Little. It claims to be the world’s largest independent producer, packager and distributor of sports programming, producing more than 6,000 hours and distributing nearly 9,000 hours of live events and original programming each year, across 200 countries and covering more than 240 sports.
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.
