{"id":5861,"date":"2017-10-01T01:00:43","date_gmt":"2017-10-01T05:00:43","guid":{"rendered":"http:\/\/worldscreen.com\/tvformats\/tvformats\/"},"modified":"2017-10-30T10:53:52","modified_gmt":"2017-10-30T14:53:52","slug":"strip-tease","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/strip-tease\/","title":{"rendered":"Strip Tease"},"content":{"rendered":"

Kristin Brzoznowski explores the market for high-volume formats that can be broadcast Monday to Friday in daytime or access slots.<\/em><\/p>\n

No broadcaster can deny the allure of having a shiny-floor entertainment spectacle as an anchor for their weekly prime-time schedule\u2014and most are willing to shell out for the hefty price for it. Budgets for daytime and access prime aren\u2019t quite as generous, though, leaving buyers to look for cost-effective, high-volume programming to fill those slots. Formats that are stripped straight across the week, airing at the same time each day, can provide channels with the perfect solution, giving them a wealth of original content at a reasonable price point.<\/p>\n

\u201cStripped programming continues to be really successful in the current television landscape,\u201d says Vasha Wallace, the executive VP of global acquisitions and development at FremantleMedia, which is home to such megahit strips as The Price Is Right<\/em>, To Tell the Truth<\/em>, Let\u2019s Make a Deal<\/em> and Family Feud<\/em>. \u201cWe see strong demand for it all around the world.\u201d<\/p>\n

Andrew Sime, the VP of formats at Banijay Rights, has seen the same. He believes that the recent rise in popularity for stripped formats might have to do with the fragmentation of the media landscape as well. \u201cWith the proliferation of platforms, channels have to do more with less. It\u2019s harder for them to expect audiences to be familiar with the varying day-to-day schedules. When you\u2019re a relatively small channel, it\u2019s easier to make your mark by stripping key titles throughout the week so that your viewers always know exactly what they\u2019re going to find when they come to you. They don\u2019t have to worry about what day of the week it is; they know that at 7 o\u2019clock they\u2019ll find a certain program. That started with the cable channels. As that turned into a very successful marketing tactic and quite a successful way of building brand identity for a channel, some of the bigger terrestrial broadcasters have followed suit.\u201d<\/p>\n

A strong seller from the Banijay Rights catalog, Don\u2019t Forget <\/em>the Lyrics! <\/em>started off as a big, weekly, prime-time million-dollar game show when it launched some ten years ago. Air Productions has since reimagined it in France as a 30-minute daily game. \u201cNow, at 7 p.m. every day on France 2, there is one episode and at 7:30 p.m. there is a follow-up episode,\u201d explains Sime. \u201cThat is five days a week, sometimes even seven, throughout the year. It\u2019s one of the most popular shows on France 2; they often get audiences of more than 3 million viewers. If you want to follow the winner and see them staying on to find out if they\u2019ll get beaten, you can. It rewards committed viewing, but equally, you can dip in and out of it. There\u2019s no prerequisite that you had to have watched the episode before.\u201d<\/p>\n

GAME TIME<\/strong>
\nGame shows are, indeed, cited by many format distributors as a top genre when selling strips.<\/p>\n

\u201cGame shows have the potential to work well on a daily basis in access prime,\u201d says Amos Neumann, the COO of Armoza Formats. \u201cThey are strong enough and look good enough to be scheduled at 6 p.m. or 7 p.m., rather than 10 a.m. or 3 p.m. Still Standing <\/em>is on air in Spain and has been there for five years now on a daily basis; it is doing magnificently well. It does the same in Italy on a daily basis.\u201d<\/p>\n

\u201cWhen it comes to access prime time, game shows are very much what channels are looking for,\u201d agrees John Pollak, the president of worldwide television and international at Electus.<\/p>\n

He points to Winsanity<\/em>, which is going into its second season on GSN in the U.S. this fall, as one that fits the stripped programming model well. \u201cWe\u2019ve had a lot of great traction on it internationally and have been able to launch it in a few markets recently. We\u2019ve revamped the creative a bit in season two. We\u2019ve turned it from a one-player game into a two-player game, and now it\u2019s more of a competition between the two contestants. That has enhanced the show. I believe it\u2019s what buyers internationally will be looking for when it comes to their potential needs.\u201d<\/p>\n

Global Agency\u2019s founder and CEO, Izzet Pinto, says that formats in the areas of cooking, style and dating do particularly well as strips. \u201cReality shows that have a theme of relationships or weddings work perfectly each day because it becomes like an unscripted telenovela,\u201d he adds.<\/p>\n

\u201cIf you look at our biggest sales, it has been the stripped programs,\u201d Pinto says. \u201cFor example, one of Global Agency\u2019s biggest hits is Shopping Monsters<\/em>, which is a stripped program. It has been selling for the last six years, and every year we have seen an increase in the number of territories and number of episodes. Stripped programs have been the best revenue-generating ones. If you look at the last 18 months, again it\u2019s a stripped format, My Wife Rules<\/em>, that is selling very well. It is an important type of format for us.\u201d<\/p>\n

When you think about formats and the idea of stripping them in a schedule, it all started with the game show, according to Arabelle Pouliot-Di Crescenzo, the managing director at KABO International. \u201cGame shows were in access prime, and the American broadcasters were doing it. They saw amazing success, so it went around the world,\u201d dictating programming trends in many markets.<\/p>\n

KABO, though, has been stripping scripted comedies since the beginning of the company\u2014and doing so very successfully. The flagship format Our Crazy Family <\/em>just wrapped its sixth season and is stripped Monday to Friday in access prime time. \u201cThe ratings have increased every season,\u201d notes Pouliot-Di Crescenzo.<\/p>\n

\u201cA lot of countries are going for games that are stripped, or, in daytime, court shows that are stripped or scripted reality. For KABO and M6, which develop shows together, the idea was to do counter-programming. The main channels, like TF1, have the news on [leading into prime time]. The idea was to counter-program with stripped sketch comedy produced as a half-hour. It has been very successful.\u201d<\/p>\n

Pouliot-Di Crescenzo says that for Our Crazy Family<\/em>, as well as other scripted KABO comedies, access prime time is ideal for stripped scheduling. \u201cIt\u2019s popular for that demographic of moms making dinner at home since it\u2019s the kind of programming the whole family can watch together.\u201d<\/p>\n

PLAYING THE SLOTS<\/strong>
\nArmoza\u2019s Neumann also points to access prime as the hot slot but says that it really depends on the type of show. \u201cFor daytime, the content will be more lifestyle and be stripped on a day-to-day basis. The same show can air five times a week in daytime without needing closure at the end of it. When you have a larger audience, as you do in access prime, the demands are higher, so you have to provide them with a more distinctive story throughout the week.\u201d<\/p>\n

Largely, though, strips can move around the schedule with a great amount of flexibility. Hat Trick International, for example, has seen the format Dinner Date <\/em>air in daytime, prime time and access prime time. The show, which combines the popular genres of cooking and dating, features standalone episodes, with new singles introduced in each. \u201cDinner Date <\/em>doesn\u2019t only play as a strip; it can play weekly as well,\u201d says Sarah Tong, the company\u2019s director of sales.<\/p>\n

For producers, it can pose a somewhat tricky twist to take a prime-time show and turn it into a strip\u2014or vice versa. \u201cIt\u2019s something we talk about a lot when we\u2019re launching shows, in terms of the flexibility of the format,\u201d says FremantleMedia\u2019s Wallace. \u201cMany formats do lend themselves to both. When you\u2019re making something into a daily, though, what\u2019s really important is that you can create a lot of volume. That volume has got to be cost-effective.\u201d<\/p>\n

She cites as an example the show Who Lives Here?<\/em>, which has been airing in Sweden for multiple seasons in prime time with a one-hour version. In each episode, five strangers tour each other\u2019s homes together and try to work out who lives where. The format was licensed into Norway as a daily and received a more budget-friendly structure, with three people looking around four homes, one of which is a red herring.<\/p>\n

Wallace has also seen cases where a strip can move into prime time. Family Feud <\/em>runs as a daily with everyday people playing for the prize pot, while the weekly prime-time version features celebrities playing to have fun and win money for charity.<\/p>\n

DOUBLE DUTY<\/strong>
\n\u201cIn Portugal, they have a real history of doing dailies,\u201d says Wallace. \u201cPortugal is a small country; the broadcasters don\u2019t have big budgets. So normally when they commission a show, they\u2019ll have the daily version and then they have the big Friday night prime-time show. You get both\u2014a daily series and a big event piece with whiz-and-bang entertainment and higher production values behind it.\u201d<\/p>\n

KABO\u2019s daily stripped Our Crazy Family <\/em>format has also been taken into prime time. In addition to the daily access-prime show, which features short comedy sketches, there are now hour-long episodes for peak slots that have a proper storyline with a beginning, middle and end. \u201cIt\u2019s like an extension of the brand,\u201d says Pouliot-Di Crescenzo.<\/p>\n

Broadcasters and audiences have really taken to this style of daily comedy as it\u2019s \u201cmore modern\u201d than a weekly sitcom, Pouliot-Di Crescenzo says. \u201cYou\u2019re constantly checking in with these characters. It\u2019s similar to binge-watching. These characters are very identifiable; they\u2019re living a parallel life to yours. You can watch them every day. You may miss part of the story, but then you\u2019re sucked right back into it the next day.\u201d<\/p>\n

TELL ME A STORY<\/strong>
\nRicher storytelling is but one of the gifts that a stripped show affords. \u201cWhen you do a strip, you can have more emotions, more details and way more stories, with many characters,\u201d says Global Agency\u2019s Pinto. \u201cThat\u2019s why stripped programming works so well; people get hooked on the program.\u201d And what broadcaster doesn\u2019t covet viewer loyalty?<\/p>\n

\u201cOnce you have your audience coming on Monday, they want to see what happens on Tuesday, and they have to see the closure at the end of the week,\u201d says Armoza\u2019s Neumann. \u201cIt\u2019s a captive audience; if they start, they want to finish.\u201d<\/p>\n

Costs are certainly another key benefit, among a myriad of others, when it comes to daily strips. \u201cIt\u2019s inexpensive compared to prime-time programming,\u201d says Electus\u2019s Pollak. \u201cBeing spread over as many episodes as a broadcaster can do, there are economies of scale that you can take advantage of. That\u2019s probably the number one selling point for people on the financial side.\u201d<\/p>\n

Banijay Rights\u2019 Undressed <\/em>format, which has been licensed into a slew of markets as a strip, is one that easily allows for multiple episodes to be filmed in one day. Same with Tipping Point<\/em>, which has been a daily ratings hit in the U.K. \u201cThe production team is very experienced now after the many years of doing this, and they can produce a lot of episodes back to back,\u201d says Sime. \u201cYou get savings in terms of the amount of time needed to have the crew present, as well as the host and contestants. You see savings in how much access you need to the studio and to equipment. The average cost per episode collapses if you can film in high volume like this.\u201d<\/p>\n

Hat Trick\u2019s new game-show format Cheap Cheap Cheap <\/em>films an average of three episodes in a day, according to Tong. \u201cWith something like Win It Cook It<\/em>, they were filming two a day,\u201d she adds. \u201cAll your costs come down!\u201d<\/p>\n

MONEY MATTERS<\/strong>
\nFremantleMedia\u2019s Wallace agrees that for a broadcaster, strips provide good value for their money. \u201cIt also delivers a lot for the brands that are working with the channels,\u201d she says.<\/p>\n

Sponsorship and advertising propositions abound when you have a strong food-themed format on daily, for example. \u201cCooking can be fantastic as a strip, especially in shoulder-peak slots,\u201d says Wallace. \u201cIf a viewer is at home during that time of day, often they\u2019re looking after their children, cooking dinner, trying to tidy up the house\u2014they are multitasking, and they have the television on, so they need something that\u2019s quite accessible. It can\u2019t be too overcomplicated in a way that something can be that you\u2019d sit down to watch with a glass of wine at 9 o\u2019clock in a much more civilized environment. Accessibility is really important in those slots, and you see that with cooking shows, game shows and reality shows.\u201d<\/p>\n

Producers working on stripped formats also need to be sure that they\u2019re putting together relatively uniform episodes, says Banijay\u2019s Sime. \u201cIt\u2019s hard if you have a Tuesday episode that is in some way structurally different from the Wednesday episode. There has got to be a certain amount of familiarity. You\u2019ve got to respect that structure. It\u2019s not good enough to simply take a one-hour show and try to stretch content across five days.\u201d<\/p>\n

Sime also cautions against scaling the production back too far. \u201cWhile you are looking for an economical solution, there could also be a temptation to put subpar, lower-quality content out there. You\u2019ve got to resist that urge. Even though it\u2019s stripped, and it\u2019s high volume, viewers have high expectations.\u201d<\/p>\n

Global Agency\u2019s Pinto has some other tips that producers should keep in mind when working on a stripped show. For one, he says, it is very important to leave a bit of curiosity in the finale of each episode so that viewers need to know what happens the following day.<\/p>\n

\u201cOften, stripped programming will focus on different contestants each run, so you have to give an overview of the participants each day so that the viewers can get to know them, see which one they feel closest to and want to watch them the whole week. It\u2019s all about the storytelling, and the drama should be produced very carefully.\u201d<\/p>\n

Pinto says he\u2019s seen growing interest for strips coming out of Central and Eastern Europe as of late, and that Latin America is in his sights. As LatAm viewers are already used to the daily viewing pattern of the telenovela, stripped formats should be a natural fit. Global Agency\u2019s daily cooking competition My Wife Rules <\/em>is going on air in Brazil, and Pinto believes that will help to spur other countries in the region to sign on as well.<\/p>\n

Electus\u2019s Pollak names Australia as a country that has \u201cmastered\u201d this type of format scheduling. Indeed, MasterChef Australia <\/em>airs five nights a week, from Sunday to Thursday, on Network Ten. My Kitchen Rules<\/em>, which has seen upwards of 320 episodes on Seven Network, also does daily runs.<\/p>\n

\u201cThe Australians love stripped formats in prime time,\u201d notes Hat Trick\u2019s Tong, \u201cwhereas it would be very unusual in the U.K. to have a stripped format in that slot.\u201d<\/p>\n

In surveying the global demand, FremantleMedia\u2019s Wallace says that stripped formats are working in nearly every market currently. \u201cIt\u2019s a very healthy business,\u201d she says. \u201cStrips deliver value for money to the broadcaster, and viewers really like these kinds of shows; they\u2019re very responsive to them.\u201d<\/p>\n

Pictured: Banijay Rights\u2019<\/em> Undressed.<\/p>\n","protected":false},"excerpt":{"rendered":"

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