English Entertainment
Perry Stahman appointed MGM president, domestic theatrical marketing
MUMBAI: Metro-Goldwyn-Mayer Studios Inc. (MGM) has named Perry Stahman as president, Domestic Theatrical Marketing.
Stahman will report directly to MGM COO Rick Sands. Stahman is a seasoned marketing executive who brings extensive experience from 20th Century Fox, Miramax Films, Metro-Goldwyn-Mayer and Sony Pictures to the newly created position.
Stahman takes on the responsibility for supervising all theatrical marketing activities for MGM’s theatrical distribution unit, unveiled as part of MGM’s revitalization strategy in March. The release of several high profile films this year will kick off MGM’s domestic theatrical distribution business in North America, states an official release.’
Chairman and CEO Harry E. Sloan said, “As part of the marketing team which released Hannibal, Legally Blonde, Barbershop and Heartbreakers, just to name a few, we are delighted to welcome Perry back into the MGM family. Perry’s experience, both in terms of the roster of studios where he has worked and the number of marketing successes he has achieved, will be of tremendous benefit as MGM readies for this new chapter in studio history. We are thrilled to have an executive of Perry’s caliber on our team and leading the marketing efforts for our new slate of films. ”
MGM COO Rick Sands added: “Marketing is an extremely important function for any studio and we are confident that Perry has the skill, talent and knowledge to make our films big hits with audiences. Having overseen the marketing for a number of high profile films, Perry’s extensive experience encompasses a wide spectrum of film genres and styles as well as different studio environments, which will be a great asset in marketing our well rounded slate of new theatrical releases. I am pleased to welcome him to MGM.”
“I am excited to be an integral part of MGM’s groundbreaking effort to craft a new model for theatrical distribution, breaking from the bounds of the traditional studio system. I’m energized by the opportunity and look forward to helping MGM establish a fresh and effective new approach to film marketing,”said Stahman.
Stahman comes from MGM from 20th Century Fox in Los Angeles, where he served as SVP, Creative Advertising since 2004. During his tenure at Fox, Stahman worked on the release of such films as Fantastic Four, Big Momma’s House 2, Transporter 2, Family Stone and Date Movie. Prior to this, Stahman served as SVP, Creative Advertising at Miramax Films. Joining Miramax in June 2002, Stahman created campaigns for Chicago, Kill Bill Volume 1 & 2, Hero and Gangs of New York.
In February 1997, Stahman joined Sony Pictures as manager, Creative Advertising and worked on Men In Black,Air Force One, As Good As It Gets, Stepmom and The Mask of Zorro. Three years later, he joined Metro-Goldwyn-Mayer as vice president, Creative Advertising.
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.
