In the Game

Game shows are proving to be a hot commodity for networks around the world, giving audiences the kind of escapist entertainment very much in demand these days.

When times are tough, audiences tend to seek out an uplifting escape in their TV entertainment. Game shows—with their fast-paced excitement, feel-good premise and familiarity—are providing viewers with the perfect serving of comfort food they’re so desperately craving at the moment.

“Game shows are family-friendly, and at a time when families are spending much more time together, they are simply the perfect watch,” says Rob Clark, director of global entertainment at Fremantle. “From a production perspective, broadcasters are in demand for COVID-friendly content that is easy to get up and running. Game shows tick all the boxes when it comes to the current production challenges, as they don’t require big audiences and there’s always a creative solution to any challenge.”

In today’s climate, there’s a clear need for formats that are able to be shot safely, factoring in COVID-19 restrictions, and game shows, particularly those based in a studio, fit the bill perfectly, says Tim Gerhartz, senior VP of global sales at Red Arrow Studios International. “We find that just a few adaptations to the gameplay and studio setup are needed. For example, in many instances, you can strip back or not include a live studio or use a virtual audience.”

Andre Renaud, senior VP of global format sales at BBC Studios, notes that demand for the genre is relatively evergreen, especially when it comes to established brands. “There has always been an appetite for game shows, and in the last few years, this hasn’t changed; big-name shows still continue to air all over the world,” he says. “What has been noticeable in the last two or three years is how commissioners have come back to shows that may have been resting for some time. We’ve seen this with Weakest Link,” which has had a slew of revivals or new launches recently, including a return in the U.S., where a second season has now been commissioned.

Renaud adds that broadcasters are looking for a combination of nostalgia and risk-averse programming. “Seeing the familiar name in an EPG means built-in marketing, and being able to play along at home means viewers will naturally be drawn to it as a way of not only bringing that natural bit of competition into our lives but also to escape their day for a short time.”

TIME TO PLAY
Gameplay is the most important factor in a successful game show, according to Nick Smith, executive VP of formats at All3Media International, “which is why a number of classic game-show formats are still very successful years later.” From the company’s catalog, the classic game show Lingo continues to be a ratings hit in the Netherlands more than 30 years since its original launch, and there’s a new adaptation for ITV in the U.K.

“For new game shows to break through, not only does the gameplay need to be gripping, but it also needs to be innovative and feel different from game shows that have aired previously,” Smith says. All3Media International has launched Head to Head, a new format that is proving to be a big hit in Sweden and had a record-breaking launch in Norway. The show pairs celebrities together in a tournament that is a mix of a quiz show and a late-night chat show. The company is also representing The Hustler, which has launched to stellar ratings on ABC in the U.S., where it’s fronted by Craig Ferguson. “This doesn’t look or play like a traditional game show,” says Smith. “It’s actually a detective show, and the set looks like a library in a stately home, which I think viewers will find refreshing.”

For Japan’s Nippon TV, comedy is the ingredient that sets its game-show formats apart in the marketplace. “When we pitch our formats to buyers, the question we get the most is, Do you have any crazy Japanese game shows?” says Moe Kanzaki, who looks after sales and licensing in the international business development department of Nippon TV. “This is what Japan is known for and a big part of the driving demand for our game-show formats.”

Kanzaki cites as an example Red Carpet Survival, which ITV Studios acquired the exclusive rights to produce in each territory it has an unscripted production base. “As ITV Studios mentioned to us, everyone knows the red carpet, the bodyguard and the VIP—they are all universal, but normally depicted in a particular way. Only the Japanese would think of putting such a comedic twist on them!”

Another example from the Nippon TV catalog is Sokkuri Sweets, a game show in which celebrities try to spot sweet pastries that look identical to everyday objects. Mute it!—which has one simple rule: don’t make a sound—was launched to the international market last April, and the company has received numerous requests for international adaptations. “As the creators of the original and hugely influential Silent Library, we knew that Mute it! would be yet another appealing game-show format,” Kanzaki says.

SAFETY DANCE
Taking COVID-19 safety regulations into account, Mute it! can be shot while maintaining social-distancing rules. “The game is played by one contestant at a time in an empty, silent studio without any audience, so it’s much easier to produce with fewer people involved than many other game shows,” Kanzaki says. “We actually taped and aired our most recent episodes in July and August, right after the state of emergency was lifted in Japan. That showed that it is possible to produce game-show formats even in the current situation.” For each of the performers, taping and rehearsals were done separately. Producers also limited the number of staff members who could enter the studio, and the studio set was sanitized after each game.

“Game shows have been able to adapt to the current circumstances, as they require less preproduction and fewer shooting days,” says Gerhartz at Red Arrow. “There is also little traveling, as usually just one studio location is required, which affords greater control over the whole production.”

Beat the Channel usually has a 750-seat audience in Germany, but for season four, it’s been stripped back to 90 people, he explains. “Likewise, there is typically a large studio audience for the filming of the U.K. version of A League of Their Own, produced by CPL Productions for Sky. It’s a big comedy entertainment show, with big physical games. Now, the show is being filmed without a live audience but uses a virtual audience technique, and the celebrity participants are carefully distanced. With these adjustments, the show’s emphasis is now more about the rapport between the panelists.”

The biggest challenge that all productions are ultimately facing is limiting contact and keeping the headcount at the bare minimum on set, says Fremantle’s Clark. “This is achievable in game shows, as fewer people are needed in the studio and it is easy to ensure that people who are there are brought in in a way that they’re not in contact with others. Also, in terms of shooting, we can use electronically controlled cameras to capture the action on set. That’s not to say that game shows will look the same as they always have, but the essence of the show is still there and the atmosphere that is expected will also still be there.”

He adds, “It’s been a tough year for our broadcasters, so it’s important to note that game shows have always been super affordable to get up and running, and they will continue to be even in this climate.”

Indeed, this genre of formats is often lauded for being cost-effective, with the ability to shoot multiple episodes back to back, all using the same set, helping to amortize production costs—in addition to the safety factors. “Most game shows have adapted into being cost-effective small-crew shows, which means they are already relatively economical and naturally more socially distant,” adds BBC Studios’ Renaud. “Being able to shoot more than one episode in a day is always a help, of course, and, for some shows, you can continue to use your participants across multiple episodes and even build up your characters as they compete to make it to the finals, meaning you can have a more modest casting pool for contestants. From a health and safety point of view, sets are naturally sparse, too, usually using LED screens and individual podiums or chairs, meaning that some of the bigger adjustments other shows may need for health and safety aren’t as prominent—it naturally already happens. It’s much more about keeping equipment and sets clean and ensuring the individuals are following appropriate guidelines for themselves and others to stay safe.”

In terms of commissioning, he says that game shows for access prime and prime-time slots have been most sought-after by broadcasters. “There are two reasons for this: one is because a game show can be more cost-effective in prime time than a big entertainment show unless you have a huge prize. Two, producers and broadcasters have been working to try and find ways to adapt those big entertainment shows to be safely produced; instead of taking the risk on those shows, it might be easier to put a game show in the slot instead. It also seems that a lot of the daytime game shows stay on-air for a number of episodes, months or years, so it’s harder to find the slots for new shows to enter into the frame.”

PLAYING THE SLOTS
Smith at All3Media International notes a shift in game-show scheduling as of late. “In recent years, the majority of new game-show commissions were not for prime time,” he says. “However, recently there has been an increase in broadcasters commissioning game shows in prime time.” The Cube recently aired in prime time in the U.K. and is set to also do so in the U.S. The Hustler is in a prime-time slot in the U.S. on ABC. Studio Ramsay landed a prime-time commission for the game show Bank Balance, hosted by Gordon Ramsay, for the BBC.

“With the current desire for feel-good television, there is likely to be an increased demand for game shows, which are generally aspirational and fun,” Smith says. “Especially as it is currently easier to produce game shows than most other genres.”

Renaud says that if the trend continues, he foresees a few new game shows launching and more heritage shows relaunching. “The idea of moving away from the traditional question-and-answer format, in whatever way that means, will also appeal, and it feels like some element of being able to incorporate celebrities, too, could be a way to extend the genre further. Game shows are always about having fun, even the tensest ones have this, so making sure you keep that element will always be a winner.”

Fremantle’s Clark doesn’t see the demand for game shows diminishing any time soon. “Firstly, given the budgets that broadcasters are dealing with, they’re looking for shows that are cheap to make and they’re not going to want to experiment too much. Behind the health crisis is going to be a financial crisis, and audiences will still be seeking family-friendly shows that have a degree of positivity and humor about them—all of which can be found in game shows. Finally, until there’s an eradication of COVID-19, productions will still be compromised. Therefore, the need for broadcasters to fill their schedules with easy-to-make shows will still be there, especially with many productions having been delayed.”