{"id":5154,"date":"2016-10-03T10:01:04","date_gmt":"2016-10-03T14:01:04","guid":{"rendered":"http:\/\/worldscreen.com\/tvformats\/what-would-you-do\/"},"modified":"2016-10-07T14:07:51","modified_gmt":"2016-10-07T18:07:51","slug":"what-would-you-do","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/what-would-you-do\/","title":{"rendered":"What Would You Do?"},"content":{"rendered":"

\"Social-Experiments\"Social experiments are all the rage, but certain key elements must be in place for these formats to become global success stories.<\/em><\/p>\n

Would you marry someone you\u2019ve never met? Show up for a date entirely nude? Volunteer to sit in jail if you weren\u2019t convicted of a crime? These are some of the scenarios at the heart of today\u2019s popular social-experiment formats, which document how real people behave in certain situations.<\/p>\n

As producers and broadcasters have cycled their way through countless twists and tweaks on reality-based shows\u2014from dating to dancing, survival to celebs\u2014social experiments have emerged as the genre\u00a0du jour<\/em>. Many would argue that they present a more \u201creal\u201d depiction of reality than formats in years past.<\/p>\n

\u201cAudiences are crying out for authenticity, and without a doubt, social experiments have exactly that,\u201d says Grant Ross, the executive VP of global creative development and format acquisitions at Banijay Group.<\/p>\n

John Pollak, the president of global distribution and Electus Studios at Electus International, agrees. He says that the popularity of this genre was born out of a backlash against some of the more heavily produced (sometimes even semi-scripted) reality fare. \u201cDocusoaps were the \u2018it\u2019 genre for a long time; they were everywhere,\u201d Pollak says. \u201cAudiences began to see that many of these shows were produced in such a way that meant they weren\u2019t always \u2018real.\u2019 There was so much of it that people finally had enough. They wanted to go in the opposite direction, which is real, authentic programming. A social experiment does that.\u201d<\/p>\n

When you hear the word \u201cdocusoap,\u201d it\u2019s relatively straightforward what the concept entails. The term \u201csocial experiment,\u201d however, can be much less clear. Generally, they center on ordinary people being put into extraordinary scenarios. Audiences can easily see themselves reflected in these participants and may begin questioning how they would react if they were facing the same circumstances.<\/p>\n

Rob Clark, FremantleMedia\u2019s director of global entertainment, argues that \u201csocial experiment\u201d is just a buzzy new term to describe a certain form of reality show. \u201cHow it differs is that often it\u2019s slightly less formatted and more observational,\u201d he says.<\/p>\n

SILENT OBSERVERS<\/strong>
\n\u201cFactual-entertainment formats have always been strong, and social experiments are a new breed of these,\u201d says Harry Gamsu, the VP of format acquisitions and sales at Red Arrow International. \u201cThey\u2019re noisy enough to get prime-time slots, whereas a docureality or traditional factual-entertainment format would struggle to be loud enough in prime time to cut through.\u201d<\/p>\n

The genre combines elements of reality shows, documentaries and soaps, says Etienne de Jong, the head of international productions at Talpa Global, which is behind the social experiments\u00a0Utopia\u00a0<\/em>and\u00a0Dating in the Dark<\/em>. What defines a series as a social experiment \u201chas more to do with the basic idea of the format\u2014whether you give 15 people a piece of land, some chickens and cows and see if they can create a new world or not, or if you can fall in love by meeting somebody only in the dark,\u201d he says. \u201cThe premise of the format has a big \u2018what if\u2019 question to it. It asks, What if\u2026? and What would I do?\u201d<\/p>\n

\u201cYou\u2019re setting up an environment or situation for a real-world activity to take place in so that you can observe it,\u201d explains Hayley Babcock, the head of formats, international programming and production at A+E Networks, which has a roster of social experiments that includes\u00a060 Days In\u00a0<\/em>and\u00a0Seven Year Switch<\/em>. \u201cYou want to provoke conversation, thought and introspection, but it\u2019s very softly formatted. Once you get the casting right, you largely just sit back and observe. You couldn\u2019t script it as well as it actually unfolds if you wanted to.\u201d<\/p>\n

Nor\u00a0would<\/em>\u00a0you want to, as true life has the potential to be more compelling than fiction since the stakes are real, and so are the people viewers are connecting with.<\/p>\n

One of the most successful social-experiment formats as of late is\u00a0Married at First Sight<\/em>, which has been licensed into more than 25 markets. \u201cThe format has all the elements in it that make a social experiment work,\u201d says Red Arrow\u2019s Gamsu. \u201cIt\u2019s got a very simple but loud premise. It\u2019s a question that we\u2019ve all asked ourselves: would you get married at first sight? When you watch it you start questioning that! There\u2019s a focus on great casting, but it\u2019s casting of people we can imagine ourselves being or knowing. They\u2019re not alien to us. The other key thing is that it touches on a universal topic. Marriage is something we can all relate to, so as a viewer you engage with it straightaway.\u201d<\/p>\n

LOOKING FOR LOVE<\/strong>\u00a0<\/strong>
\nElectus\u2019s Pollak agrees that when it comes to social experiments, relationships and dating are a great fit. He says that viewers can easily relate to the singles featured in the\u00a0Dating Naked<\/em>\u00a0format, since (nudity aside) it\u2019s ultimately about searching for love. The way that the format is structured and how the producers have crafted the environment are what help the social experiment to play out as naturally as possible\u2014which is the ultimate goal with shows like these.<\/p>\n

\u201cThese characters walk into a world that might feel incredibly foreign to them, but within that world they feel comfortable,\u201d Pollak says. \u201cIt is the special sauce of producing. Nothing feels over the top. It feels intentionally genuine and people on the show appreciate that and are more willing to let their guard down and share.\u201d<\/p>\n

While social experiments have the appearance of being largely observational in nature, it takes more than just turning a camera on to get a show that is compelling and can be successfully formatted in multiple markets. The production team still plays a key role in constructing the setting and pairing together the personalities needed to drive stories forward.<\/p>\n

For example, in FremantleMedia\u2019s new social-experiment format\u00a0Get the F*ck Out of My House<\/em>, 100 participants are placed together under a single roof, where in the end only one will remain. Viewers are invited to \u201ccome revel in the chaos of the human zoo,\u201d says Clark, as cameras document all the action of how and why people leave the show.<\/p>\n

GUIDING LIGHTS<\/strong>\u00a0<\/strong>
\nThe stories within the series are propelled by \u201cthe people and the situations that they find themselves in\u2014that is all driven by the production team,\u201d Clark explains. \u201cThey cast it, they make sure the right people are in, they have chosen the location\u2014and they have not chosen this house for comfort!\u201d There are also very strict rules in place that participants must abide by.<\/p>\n

\u201cAlthough it\u2019s a social experiment, it is quite formatted,\u201d Clark says. \u201cWe want shows that are returnable. Sometimes social experiments aren\u2019t returnable because once you\u2019ve seen the d\u00e9nouement of the experiment you don\u2019t want to see it again. Watching a petri dish is not necessarily the best entertainment. Watching something that\u2019s formatted, that has the feeling of a very loose program but is primarily story-driven, that makes a big difference.\u201d<\/p>\n

Gamsu at Red Arrow is aware of the fact that, along with a strong premise, solid format pillars do need to be in place. He cautions, though, \u201cDon\u2019t overproduce it; watch how it unfolds naturally.\u201d<\/p>\n

\u201cThe hand of the producer should be a nice soft touch,\u201d Gamsu says. \u201cWe\u2019re not leading the conversations. Compared to other dating formats,\u00a0Married at First Sight\u00a0<\/em>is a more softly constructed show in the way that the journey develops. You want the narrative to progress naturally.\u201d<\/p>\n

Banijay\u2019s Ross cites maintaining a hands-off approach as one of the greatest challenges when it comes to producing a social-experiment format. \u201cYou have to trust your format and the experiment,\u201d he says. \u201cIf you get nervous and try to intervene, you will throw things off.\u201d<\/p>\n

In the case of\u00a0The Secret Life of 4 Year Olds<\/em>\u2014which Banijay\u2019s sales arm, Zodiak Rights, represents\u2014\u201cif you leave half a dozen 4-year-olds in a room with a chocolate cake and tell them they cannot eat it, there is no need to get in the way or move things along,\u201d says Ross. \u201cWhat will play out is pure comedy.\u201d<\/p>\n

The same rings true about trusting in the premise for the format\u00a0Undressed<\/em>, Ross explains. \u201cBy placing two strangers in a room and asking them to undress each other, the resulting connections that naturally occur are real and fascinating to observe.\u201d<\/p>\n

CHARACTERS WANTED<\/strong>\u00a0<\/strong>
\nOne important piece\u2014if not\u00a0the\u00a0<\/em>most important piece\u2014in eliciting genuine stories that engage the audience is casting. \u201cBecause you\u2019re not telling the people on the show what to do or say, you need to find great characters,\u201d says Electus\u2019s Pollak. \u201cThese are the people that viewers are going to watch and get into the lives and heads of. If you don\u2019t cast that properly, it\u2019s not going to work. It might be a great world that you\u2019ve created, but viewers need to care about the people in it that they are watching.\u201d<\/p>\n

The better the casting, the better a producer can, more or less, predict how the stories will play out by considering the backgrounds of the participants and what their chemistry with one another might be like.<\/p>\n

Red Arrow\u2019s Gamsu says that getting the casting right is one of the most time-consuming pieces of the overall production process. \u201cThat pulls you into a longer preproduction period. You also have a longer running time for the show itself. For a true experiment to come to fruition and be credible, it needs to run over an extended period of time to see real change. Otherwise, you\u2019re just fooling the audience and it doesn\u2019t work. So you do have a longer production period as well.\u201d<\/p>\n

There is a delicate balance that has to be achieved with social experiments in giving the audience just the right amount of story. This was one of the key lessons that producers learned with\u00a0Utopia<\/em>.<\/p>\n

The original Dutch version, which has been successfully airing for more than two and a half years, is based on daily, 25-minute episodes. When the format was adapted in the U.S., FOX opted to air the show twice a week rather than every day. \u201cIt was impossible to tell the story in this amount of time,\u201d says Talpa\u2019s de Jong. \u201cReal social-experiment formats are about storytelling. The viewer will never be hooked if you have to tell a story that happened over five or six days in real time in only two hours.\u201d<\/p>\n

In Germany,\u00a0Utopia<\/em>\u00a0was on for nearly 50 minutes a day, double the duration of Holland\u2019s version. \u201cFor the viewer, that was too long,\u201d de Jong says. \u201cYou then have to tell much more story and situations are being [edited to run] longer. Holland is the best example of the format, in the daily, 25-minute structure.\u201d<\/p>\n

IMMERSIVE ENTERTAINMENT\u00a0<\/strong>
\nAlso, by airing a social-experiment show in a daily slot, viewers get immersed in the stories and the following becomes similar to that of a soap opera, de Jong says. \u201cFor a broadcaster, it\u2019s very good because it\u2019s cheaper than a real soap with actors that you have to pay big salaries!\u201d<\/p>\n

Banijay\u2019s Ross points out that broadcasters also get the benefit of social experiments creating a fair bit of noise in their schedules. \u201cIn a landscape of multiple channels and screens and the need to stand out, it\u2019s a marketer\u2019s dream come true,\u201d he says.<\/p>\n

Clark feels confident that the subversive nature of\u00a0Get the F*ck Out of My House\u00a0<\/em>will pique broadcasters\u2019 interests. \u201cThis is a loud show. This is not one of FremantleMedia\u2019s broad-appeal talent shows; it\u2019s a different sort of format for us. It\u2019s targeted for younger adults, male and female viewers, and it\u2019s supposed to be provocative. Calling the show\u00a0Get the F*ck Out of My House<\/em>in itself is a provocative statement.\u201d<\/p>\n

While Clark admits it\u2019s not an easy show to produce, he does say it\u2019s a challenge he\u2019s excited to undertake. \u201cAs a producer, you very much have to move with the flow of what\u2019s happening; you can\u2019t plan ahead. You don\u2019t know the outcome.\u201d<\/p>\n

Even with the core premise of the social experiment in place and a general idea of the story that\u2019s to be told, there are still many variables at play that impact the outcome of the final series. \u201cYou go into a social-experiment production not knowing how it\u2019s going to play out\u2014that\u2019s a scary thing!\u201d says Electus\u2019s Pollak. \u201cWith\u00a0Dating Naked<\/em>, you cannot control the reactions or the feelings that people have toward each other, but producers can set up the dates and the moments so that when those feelings happen, they are able to catch them. Then they\u2019re real and they\u2019re great. You need to have a great team in production, but also in post-production who can then grab all of those moments and create a show around them.\u201d<\/p>\n

INTO THE UNKNOWN<\/strong>\u00a0<\/strong>
\nRed Arrow\u2019s Gamsu adds, \u201cYou want to be prepared and know what\u2019s coming, but it\u2019s impossible to do that; you can\u2019t tell exactly what\u2019s going to happen. That\u2019s what delivers the great content. For a viewer, it makes it thrilling. For a producer, it\u2019s pretty stressful! You have to believe in the format and believe in the premise. You have to believe that even if it doesn\u2019t follow the exact path you wanted it to, that\u2019s a positive, and it\u2019s what makes it a more interesting show to watch and produce.\u201d<\/p>\n

One of the variables that is all but impossible to control is the emotions of the participants, notes Gamsu. This is why having knowledgeable experts\u2014skilled in psychology, matchmaking, communication, etc.\u2014involved can pay off.<\/p>\n

\u201cThe experts are really important,\u201d he says. \u201cWe don\u2019t want to play with people\u2019s emotions. The [participants] must trust us and trust in the production and the experts to bring out the best in themselves and get the most out of the experiment.\u201d<\/p>\n

A+E Networks\u2019 Babcock expresses a similar sentiment concerning the emotional support needed for participants on shows like\u00a060 Days In<\/em>, in which participants are locked in prison with real criminals, and\u00a0Seven Year Switch<\/em>, following couples who swap spouses as part of switch therapy. \u201cYou put in as many safety nets for these individuals as possible,\u201d she says.<\/p>\n

EMOTIONAL SUPPORT<\/strong>\u00a0<\/strong>
\n\u201cYou are dealing with real emotions, people and relationships. You have to be incredibly respectful of that and incredibly careful with it, without going so far as to sugarcoat the situation and prevent them from experiencing the consequences of their choices and decisions. You walk a fine line.\u201d<\/p>\n

Babcock says this is why it\u2019s important to enlist qualified psychologists, psychiatrists and family therapists. They not only help choose the appropriate people to participate in the show in the first place, these experts then guide the process so that the experience is fruitful, not detrimental.<\/p>\n

\u201cWe\u2019re not trying to create car-crash moments,\u201d she says. \u201cWill there be some jaw-dropping, emotional, intimate, revelatory moments? Probably, as these situations are so dramatic\u2014cameras or none.\u201d<\/p>\n

Babcock says that social-experiment formats, to a certain degree, present a mirror of what\u2019s happening in society; therefore, she sees the genre delving into more personal depths in the future. \u201cAs people get used to sharing their private worlds publicly, thanks to social media, that firewall between private life and public life is not as apparent. That may then be reflected in the kinds of moments and stories happening in our society, which we will then see on screen.\u201d<\/p>\n

Pictured: A+E Networks’<\/em> Seven Year Switch.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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