TV Formats<\/em>\u2019 Kristin Brzoznowski, moderator of the session, kicked things off by asking the panelists their thoughts on the state of the formats business at present.<\/p>\n\u201cCommissioners who are always risk-averse are even more cautious,\u201d Renaud noted. \u201cYou have companies trying to spend less, you have more people seeking content with their families, and this translates into cost-effective game and quiz shows that suit families. More people are watching with their parents or their children, and I think that\u2019s why you start seeing a surge in reboots. People are seeking nostalgia. They\u2019re also looking for new shows still, but I think they want the scale of a prime-time slot but the budget of a secondary slot.\u201d<\/p>\n
There has been a slowdown in the number of formats traveling in the last 12 to 18 months, Wallace noted. \u201cBut equally, if the show\u2019s right, a broadcaster will buy it. Sometimes it\u2019s not just about the show; it\u2019s about having production solutions in place and having a story that will convince them to get them over the line.\u201d<\/p>\n
\u201cIn this challenging market, there are opportunities across the board,\u201d Townley said. \u201cThere are budget restrictions, but if you have the ability to make your productions as efficient as possible and when you\u2019ve got catalogs that are built on incredible IP, there is enormous confidence that the market gets from that. We\u2019ve seen a lot of our superbrands, whether it\u2019s the MasterChef<\/em>s, the Big Brother<\/em>s, the Survivor<\/em>s, consolidate incredibly well off the back of Covid as well as during Covid.\u201d<\/p>\nSmith agreed, referencing the launch of The Traitors<\/em> mid-pandemic and continued traction on some of All3Media International\u2019s megabrands. \u201cBroadcasters and platforms need local content. There is a risk-aversion of trying new stuff. That\u2019s the challenge. But things that work or work in other countries, there [are] still definitely buyers that are willing to push the button on those.\u201d<\/p>\nBalancing out the prominence of superbrands with new IP is key, Townley said, \u201cbecause the audience wants fresh and new with their warm, favored, delightful tentpole programming that they make an appointment to view.\u201d<\/p>\n
\u201cOn one hand, you\u2019ve got the big swings; on the other hand, you\u2019ve got the cost-efficient side,\u201d Wallace noted. \u201cI think the middle, that slightly more expensive mid-week show, maybe an entertainment format, you just don\u2019t see them. They might be a great show, but they\u2019re not getting enough viewers to justify it.\u201d<\/p>\n
The session then addressed the role that streaming platforms are playing in the non-scripted format business today.<\/p>\n
\u201cWhen you look at the streamers\u2014taking Netflix out of it\u2014they\u2019re all playing in the traditional format space now,\u201d Smith said. \u201cThey\u2019re licensing formats for individual territories. Even with Netflix commissioning something like Squid Game: The Challenge<\/em>, you don\u2019t really get much bigger swings than that. It gives confidence to the whole industry.\u201d Streamers have also allowed edgier shows like Naked Attraction<\/em> to find international homes; the format is in ten territories, Smith said.<\/p>\n\u201cIn Europe in particular, local streamers are increasingly important,\u201d Wallace said, referencing Videoland in the Netherlands and RTL+ in Germany as examples. \u201cThose platforms will commission local shows in a local language. They\u2019re often attracting young audiences as well. It\u2019s good for us as producers, but it\u2019s also good for the audience.\u201d<\/p>\n
\u201cStreamers, for us, have been incredibly helpful too,\u201d Renaud said. \u201cDancing with the Stars<\/em> in the U.S. and Canada was the first live event for Disney+. Love Productions\u2019 Great Bake Off<\/em> has also been on [Prime Video] in Japan and Spain. It\u2019s on Max in Mexico and Colombia. Streamers are also looking for brands that have a wide appeal and reach; things that celebrities could go on or things that they can do that become noisy and showy. They really do overlap more now. For us, The 1% Club<\/em> is going out on [Prime Video] and FOX in the U.S. Reach is what\u2019s so important now.\u201d<\/p>\nStreaming platforms are \u201cgetting more and more robust with their commissioning strategy,\u201d Townley said. \u201cThere seems to be a significant focus on that local for local, but then the local that can potentially go global, where you have those big swings like Squid Game<\/em>. They\u2019re quite nicely balanced because they\u2019re looking at global catalogs. Whether you call them reboots or dormant formats or sleeping giants, they\u2019re always looking at the catalog about what potentially can be refreshed. At the same time, they are also taking those swings on big, brand-new, fresh IP.\u201d<\/p>\nStreamers have also allowed fans to consume multiple versions of a format. \u201cWe have streamers to thank in some respects for bringing different versions of things around the world in a way that also helps them,\u201d Renaud said.<\/p>\n
\u201cIt allows you to build the brand a lot stronger,\u201d Smith added. \u201cIt wouldn\u2019t have been common for reality shows to be sold all around the world. People make their own reality shows. You want to see people from your own country speaking your own language. But now, if you\u2019re a fan of a particular show, whether it\u2019s The Traitors<\/em> or Love Is Blind<\/em> or whatever it might be, you love that show, so you want to see the other versions. That\u2019s been a huge boon for everyone in the formats business.\u201d<\/p>\nOn how they are finding breakout new concepts, Townley spoke about the scale of the Banijay footprint and the ability for those outfits to collaborate. \u201cWhen you\u2019ve got the best part of over 120 labels, there\u2019s always going to be co-development,\u201d he said. \u201cThere\u2019s always going to be that cross-pollination. We have lots of internal creative incentivization, but also big creative funds focused on new IP. The new IP world needs as much help as it can get. We\u2019re really keen to get behind those embryonic ideas that we feel have international potential.\u201d<\/p>\n
It\u2019s a similar approach at Fremantle, Wallace said. \u201cWe spend a lot of time talking to all of our production companies around the world, and they spend a lot of time talking to each other. We just had a big development session in Germany. Because we are a global company, we have abilities to work with different people in different countries in different ways and try and come up with the best offering possible for your broadcasters and your audiences.\u201d<\/p>\n
\u201cWe operate in a federal model, which means it\u2019s a little bit challenging for them to work together because they are competitors in the marketplace,\u201d said Smith on the approach at All3Media and its various U.K. labels. \u201cSomething that we\u2019ve done recently is a partnership with TBS in Japan. All of our labels are able to submit ideas, and TBS can select what works best for them within our group. That has been a fantastic experience for us in terms of co-development. You need to work with people that bring something that you don\u2019t have within your organization.\u201d<\/p>\n
BBC Studios is also co-developing with Japan, partnering with Nippon TV and Empire of Arkadia on Koso Koso<\/em>. \u201cIt needs to be things that both parties are bringing to the table that complement each other,\u201d Renaud said. \u201cKoso Koso<\/em> was actually a BBC Studios idea, but Nippon TV absolutely made it exponentially better. And for us inside the U.K., we combined our own production units. We had factual entertainment and entertainment. Our international production units are all now into one group called global entertainment. As part of that responsibility to continue investing into the U.K. media sector, we also are backing indies like Rebel Rebel Pictures and Mettlemouse Entertainment.\u201d<\/p>\nOn where hit formats are originating, Renaud went on to note, \u201cThe most traveled formats still come from the U.K. and the U.S., although those numbers are getting pressured; the Netherlands is third. Those two markets are also extremely challenged for commissioners and getting things over the line. So, sometimes you\u2019re saying, I\u2019m going to put a bunch of energy in developing into those markets, and sometimes those shows don\u2019t land, and they can also reverse backward and travel out to your Israels and Mexicos. These really great ideas can then also make their way into commissioning in the U.K. and U.S. as well. That\u2019s the joy and power of it.\u201d<\/p>\n
Smith added, \u201cWe\u2019re all keen to work with the best independent producers or producers that don\u2019t have a distribution arm. We\u2019ve all picked up formats that we believe in that can travel around the world.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Day two of the TV Real Festival opened with Fremantle\u2019s Vasha Wallace, Banijay\u2019s James Townley, BBC Studios\u2019 Andr\u00e9 Renaud and All3Media International\u2019s Nick Smith weighing in on trends in non-scripted entertainment formats.<\/p>\n","protected":false},"author":290,"featured_media":10663,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[69],"tags":[157,2037,759,1337,1482,2529,532,3785,1383],"class_list":["post-10662","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-all3media-international","tag-andre-renaud","tag-banijay","tag-bbc-studios","tag-fremantle","tag-james-townley","tag-nick-smith","tag-tv-real-festival","tag-vasha-wallace","pmpro-has-access"],"yoast_head":"\n
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