{"id":5355,"date":"2017-01-09T10:55:38","date_gmt":"2017-01-09T15:55:38","guid":{"rendered":"http:\/\/worldscreen.com\/tvformats\/2016-year-in-review\/"},"modified":"2017-01-10T09:47:43","modified_gmt":"2017-01-10T14:47:43","slug":"2016-year-in-review","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/2016-year-in-review\/","title":{"rendered":"TV Formats: 2016 Year in Review"},"content":{"rendered":"

Kristin Brzoznowski recaps\u00a0highlights from last year’s formats market, which still saw plenty of action even though it didn’t bring about the next globe-busting entertainment phenomenon.<\/em><\/p>\n

Notably, a flurry of partnerships, co-production deals and innovative development pacts kept things interesting for producers, broadcasters and distributors.<\/p>\n

NBCUniversal International Formats and MBC Korea tied up to co-develop and produce original formats for Korean and international audiences. NBCUniversal International Studios, meanwhile, signed a first-look partnership deal with the French production company Terminal 9 Studios to develop entertainment and factual-entertainment formats. Canada\u2019s CBC brought back its Format Incubator initiative, this time in partnership with Warner Bros. International Television Production. And NRK began working with RT\u00c9 to offer funding for an \u201cimpactful\u201d concept that can be made for both the Norwegian and Irish marketplaces.<\/p>\n

Format behemoth FremantleMedia entered into a two-year co-development partnership with Argentina\u2019s Telefe to create and develop entertainment\/non-scripted formats for the Argentine and wider Latin American market. Also looking to LatAm, Keshet International (KI) struck up a relationship with Mexico’s Televisa that will see four scripted formats getting remade with Spanish-language adaptations over the next couple of years.<\/p>\n

A number of format players looked to Asia for partnerships that could yield the next big international hit. Endemol Shine Group and CJ E&M have partnered up to create original formats and series for the Korean and international markets. Simon Cowell’s Syco Entertainment and Star China’s Canxing Production inked a three-year development deal. Talpa entered into a joint venture with the Chinese media company Zhejiang Tangde, part of which covers the rights to produce and broadcast seasons five through eight of\u00a0The Voice of China<\/em>.<\/p>\n

Dealings in the Chinese market continued to get tougher, though, as the country\u2019s State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) placed new restrictions on the imports of foreign formats in a bid to encourage local creativity. \u201cThe reliance on imported program formats has been squeezing out the creative incentive of domestic producers and broadcasters,\u201d SAPPRFT argued.<\/p>\n

Nevertheless, there was still plenty of activity in China and across AsiaPac at large. ITV Studios Global Entertainment (ITVS GE) clinched a scripted format deal with Huace Film & TV in China. The partnership will see Huace produce a Chinese version of an existing ITV Studios scripted format and sell the finished product across Asia. Distribution in the rest of the world will be handled by ITVS GE. Shanghai Media Group and Fuji Television jointly commissioned\u00a0Operation Love<\/em>, a Chinese-language version of a Japanese drama. There are Thai remakes planned for the\u00a0Top Chef\u00a0<\/em>and\u00a0The Real Housewives\u00a0<\/em>franchises, while\u00a0Dragons\u2019 Den\u00a0<\/em>will see its first Southeast Asian version, thanks to an order from VTV in Vietnam. Korea\u2019s tvN commissioned a local version of\u00a0The Good Wife<\/em>, marking the first time a U.S. series is being remade in the country.<\/p>\n

Asia has also been a reliable exporter of format concepts, with 2016 seeing a number of shows from the region being adapted on foreign shores. GMA Worldwide licensed some of its hit Filipino dramas for remakes, including selling a pair of scripted formats into Mexico. Nippon TV placed the Japanese drama\u00a0Mother\u00a0<\/em>with MF Yapim and MEDYAPIM for the Turkish market; Global Agency is selling the finished tape. The U.S., meanwhile, has been riding the Korean wave: ABC recently gave a straight-to-series order to the thriller\u00a0Somewhere Between<\/em>, a murder mystery based on a Korean format, while NBC is bringing back the reality-travel show\u00a0Better Late Than Never<\/em>, adapted from the South Korean series\u00a0Grandpas Over Flowers<\/em>.<\/p>\n

Indeed, the U.S. continued to embrace more format imports. Starz, for example, signed up for an American adaptation of the British comedy hit\u00a0Peep Show<\/em>. FOX ordered the new Gordon Ramsay series\u00a0The F Word<\/em>, based on the U.K. show of the same name. Electus is working with Queen Latifah and Shakim Compere’s Flavor Unit Entertainment and Principato-Young Entertainment to adapt the hit Singaporean series\u00a0The Kitchen Musical<\/em>\u00a0for the U.S. market. USA Network and sister studio Universal Cable Productions brought an American adaptation of the Norwegian crime thriller\u00a0Eyewitness<\/em>\u00a0(\u00d8yevitne<\/em>) to the U.S.<\/p>\n

Nordic Noir and Scandi thrillers have proven ripe for remakes globally. Among the most successful of the scripted Scandinavian exports is\u00a0The Bridge<\/em>, which has now scored a deal for a Russian treatment. Also, the hit Norwegian teen drama\u00a0Shame\u00a0<\/em>is being remade for American and Canadian audiences by Simon Fuller\u2019s XIX Entertainment.<\/p>\n

With the appetite for drama still at a high all over the globe, it\u2019s no wonder that 2016 was a banner year for scripted formats. A number of Turkish dramas are now being remade in markets outside their home country, including\u00a0The End<\/em>, which landed an adaptation in Spain, among other countries. Israel continued to be a hotbed for dramas. KI\u2019s\u00a0The A Word<\/em>\u00a0saw a successful remake air in the U.K. and the U.S. and is now headed to Greece with a local treatment.\u00a0Prisoners of War<\/em>, which is the basis for the Showtime hit\u00a0Homeland<\/em>, has an Indian version, via a deal between KI and Star Plus.<\/p>\n

Outside of scripted formats, all the usual entertainment genres persisted in their popularity\u2014new talent competitions were launched, dating series got recommissioned, game shows returned with slight tweaks in their concepts. Factual entertainment saw a nice boost in demand, as did social-experiment formats. An example of the latter is the continued success of\u00a0Married at First Sight<\/em>. Red Arrow International has since added to its catalog two new social experiments:\u00a0Kiss Bang Love\u00a0<\/em>and\u00a0Look Me in the Eye<\/em>. A number of distributors, among them A+E Networks and Armoza Formats, have tapped into this trend, adding new social-experiment formats to their slates.<\/p>\n

For the most part, it\u2019s the tried-and-tested concepts that are still selling best\u2014but there is innovation happening around these ideas. For example,\u00a0The Stream<\/em>, sold by Nordic World, taps into the power of the internet and social media to identify the next big music superstar. (NBC is planning to bring the show to American audiences.) Keshet Studios and BuzzFeed Motion Pictures are working together on a new TV and digital venture surrounding the game show\u00a0Touch<\/em>. Armoza Formats entered into a new co-development deal with FILM.UA Group for virtual- and augmented-reality projects. Meanwhile, FremantleMedia’s newly developed entertainment format\u00a0Lost in Time<\/em>\u00a0makes use of Interactive Mixed Reality on both TV and mobile devices.<\/p>\n

Be sure to sign up for your\u00a0free subscription to\u00a0TV Formats Weekly<\/em><\/a><\/strong>\u00a0and visit TVFormats.ws<\/strong><\/a> to catch all the latest developments in 2017 in the world of formats.<\/p>\n","protected":false},"excerpt":{"rendered":"

Recaps last year’s formats market, which saw plenty of action even though it didn’t bring about the next globe-busting entertainment phenomenon.<\/p>\n","protected":false},"author":350,"featured_media":5356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[68,69],"tags":[],"class_list":["post-5355","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-profiles","category-top-stories","pmpro-has-access"],"yoast_head":"\nTV Formats: 2016 Year in Review - TVFORMATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvformats\/2016-year-in-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TV Formats: 2016 Year in Review - 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