{"id":6819,"date":"2019-03-28T11:00:07","date_gmt":"2019-03-28T15:00:07","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2019-03-28T13:39:07","modified_gmt":"2019-03-28T17:39:07","slug":"fighting-for-formats","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/fighting-for-formats\/","title":{"rendered":"Fighting for Formats"},"content":{"rendered":"

\"\"Distributors discuss the biggest issues at play in the format business today.<\/em><\/p>\n

There\u2019s a reason why FOX\u2019s The Masked Singer\u00a0<\/em>is currently the most talked-about format on the planet. And it has nothing to do with its surreal conceit, bonkers costumes or the fact that it comes from South Korea, arguably the hottest TV territory du jour.<\/p>\n

According to Rob Clark, Fremantle\u2019s director of global entertainment, it\u2019s because it\u2019s utterly, ludicrously frivolous. \u201cI\u2019ve got a theory,\u201d he says. \u201cIn times of uncertainty, people don\u2019t want serious. So in 2019, we\u2019ve got Trump and Brexit and a downturn in China and revolution in Venezuela and Germany heading into economic headwinds and, lo and behold, what are people watching? Masked celebrities dressed as llamas.\u201d<\/p>\n

Clark is, in fact, making a serious point about the key issues impacting the global formats industry as we head into MIPTV, notably the legacy broadcasters\u2019 relationship with risk, the industry\u2019s current conviction that the Next Big Thing will emerge from a non-traditional format territory\u2014probably South Korea\u2014and, indeed, whether the Next Big Thing is even still a thing in today\u2019s fractured, fragmented marketplace.<\/p>\n

The success of The Masked Singer<\/em>, which started life as King of Mask Singer\u00a0<\/em>on Korean channel MBC in 2015, nods to all these trends. The U.S. iteration rolled out in January on FOX and was watched by more than 9 million mesmerized Americans, making it the highest-rated unscripted debut on any U.S. network in seven years.<\/p>\n

\u201cHats off to FOX for The Masked Singer<\/em>\u2014which is in itself a sign the linear broadcasters realize they need to innovate and take more risks to compete with the SVODs,\u201d says Clark, observing that, even a couple of years ago, such a left-field format would never have been ordered. \u201cBut I\u2019m a bit exasperated with everybody hailing Korea as the new land of milk and honey. Korea\u2019s certainly a very creative place, but the fact remains that, while hit formats can come from anywhere, the likelihood is that they\u2019ll come from where they usually come from.\u201d<\/p>\n

This chimes with Harry Gamsu, VP of non-scripted at Red Arrow Studios International, who says that, in terms of volume, \u201cthe usual suspects\u201d\u2014the U.S., the U.K., the Netherlands and the Nordic territories\u2014continue to top the list of the company\u2019s new format launches. But he adds that the success of The Masked Singer\u00a0<\/em>should serve as a warning to all distributors \u201cnot to ignore the emerging players.\u201d He adds, \u201cThe formats game is now a mature business and those countries that used to focus on importing IP are now well-versed in the practice of creating original content.\u201d<\/p>\n

Of note, Red Arrow is working with leading Japanese media group Nippon TV on the brand-new game show Beat the Rooms<\/em>.<\/p>\n

CREATIVE POWERHOUSES<\/strong>
\nThis uptick in local format generation has also resulted in a boom in the number of format prospectors mining the world for inspiration. One effect of this, says Lisa Perrin, the CEO of creative networks at Endemol Shine Group, is that news of a format with potential star power travels far, fast. \u201cGood ideas are the worst-kept secrets,\u201d she adds.<\/p>\n

While Perrin agrees with Fremantle\u2019s Clark that discoveries like The Masked Singer\u00a0<\/em>are rare, she says that Endemol Shine\u2019s global network of 120 operating companies is constantly trawling for fresh ideas. \u201cI think we\u2019ll see a lot more formats from Asia because this region is not only incredibly innovative but the audience there also consumes a lot of television,\u201d she predicts. \u201cAnd Latin America is also a very exciting place to be at the moment.\u201d<\/p>\n

Global Agency\u2019s founder and CEO, Izzet Pinto, has also found Latin America to be a rich source of new ideas. Israel, India and, more recently, France, are also proving to be creative hotspots for the Turkish distributor, which is rolling out Upgrade\u00a0<\/em>from Israel and Auction Queens\u00a0<\/em>from France at MIPTV. \u201cActually, the most surprising place I\u2019ve found a format is in myself,\u201d Pinto adds, describing how a music video inspired him to devise Keep Your Light Shining\u00a0<\/em>in 2015. Local versions of the singing-talent format have now been made in Turkey, Germany, Ukraine, China, Thailand, Brazil, Angola and Mozambique.<\/p>\n

Rabbit Films is looking to position Finland as a key hub of innovative ideas, arriving at MIPTV with a slate that includes Couples\u2019 Party<\/em>, which Jonathan Tuovinen, COO and head of international, describes as a \u201csaucy studio show.\u201d He notes, \u201cStrengthening existing partnerships and creating new ones in Europe and the U.S. are always part of our mission. But we\u2019ll also be making our way towards Asia and Australia with our catalog as we\u2019re operating with a global mindset.\u201d<\/p>\n

HOT TICKETS<\/strong>
\nPinto likens the chances of finding yourself in possession of a hit format to winning the lottery. Interestingly, he claims that drama\u2014Global Agency\u2019s other major content pillar\u2014is a much easier sell. \u201cOne in four of our dramas goes on to do well for us, which is a 25-percent hit rate. But with formats, it\u2019s a lot tougher. Every year, we get pitched about 250 formats, but only about ten of those will be strong enough to add to our catalog. Out of those ten, perhaps two will go on to sell, which means you\u2019ve got a 1-percent shot at success. But even though the chances are low, if one of those two formats hits the jackpot, it\u2019s a game-changer and will deliver revenue for years.\u201d<\/p>\n

There\u2019s been much talk about the continued domination of the mega-format franchises, and the lack of new ideas strong enough to challenge their iron grip on global schedules. Where you stand on the question of mega-brands crowding out innovation appears to be linked to whether you are fortunate enough to own one. Those who do claim that \u201cbig, successful formats enable channels to launch and build innovative new programming around them,\u201d to quote Red Arrow\u2019s Gamsu. Those who don\u2019t say that the mega-formats\u2019 stranglehold on prime time makes it harder to cut through with new ideas\u2014particularly in a linear broadcast market that remains risk-reticent, if not downright risk-averse.<\/p>\n

Fremantle\u2019s Clark is in the former camp, dismissing the argument as \u201cnonsense put about by producers who don\u2019t have a mega-format.\u201d Like Gamsu, he believes that, far from stifling innovation, tentpole franchises attract huge audiences to networks, fertilizing the ground for \u201cnew green shoots\u201d of creativity. \u201cIn any industry, success breeds success,\u201d he adds. With a mega-brand portfolio that includes Idol, The X Factor <\/em>and\u00a0Got Talent, <\/em>not to mention format pioneers\u00a0Family Feud <\/em>and\u00a0The Price Is Right<\/em>, it\u2019s hard to disagree.<\/p>\n

Over at Endemol Shine\u2014itself no slouch on the mega-format front, with Big Brother, MasterChef, Deal or No Deal <\/em>and\u00a0The Wall\u00a0<\/em>in its vault\u2014Perrin makes the point that, as long as there are eager audiences for the big old brands, broadcasters will keep serving them up.<\/p>\n

Perrin has spotted signs that the linear broadcasters are becoming \u201cbraver and more innovative\u201d as they engage in a battle for eyeballs with the SVODs. But Sarah Tong, director of sales at Hat Trick International, says risk-aversion is still alive and well. \u201cSomething that\u2019s a bit different is a tough sell when competing against mega-brand formats such as\u00a0The\u00a0<\/em>X Factor <\/em>and\u00a0MasterChef, <\/em>which continue to be remade worldwide year after year.\u201d<\/p>\n

Another sign of risk-aversion, Tong adds, is that it\u2019s becoming increasingly difficult to persuade buyers to take a punt on a format that hasn\u2019t rated in another territory. \u201cOften a broadcaster will say they love a show, but if it doesn\u2019t fit exactly into the slot criteria they\u2019re looking for, then they\u2019re not going to take a risk on it,\u201d she says. Broadcasters will also wait to see how a format has performed in another market before deciding whether to commit. Tong references Rich House Poor House<\/em>, which didn\u2019t take off as a format until it had proved itself to be a ratings winner on both Channel 5 in the U.K. and SBS6 in the Netherlands. The show, in which families from opposite ends of the wealth spectrum trade places, has now been licensed in Belgium, Germany and Poland.<\/p>\n

RISKY BUSINESS<\/strong>
\nBut Andrew Sime, the VP of formats at Banijay Rights, thinks a bit of risk-aversion is not a bad thing for the formats industry, since it serves to reinforce the value of their product. \u201cWe can help to reduce the risk by offering broadcasters a catalog of proven hits and the production expertise to execute them successfully and on budget,\u201d he points out.<\/p>\n

If the legacy broadcasters remain cautious, however, the SVOD platforms are far more willing to take risks, facilitated by deep pockets, an insatiable appetite for content and, significantly, freedom from scheduling and timeslot constraints. Sime notes that, while it\u2019s still early days in terms of global SVOD commissions, demand is growing for formats across the major platforms as they seek to replicate their successes in scripted. Banijay Group\u2013owned Bunim\/Murray signed a multi-territory deal with Facebook Watch for its classic format The Real World.<\/em><\/p>\n

\u201cWe shouldn\u2019t be referring to [the streamers] like they are all the same,\u201d adds Michael Iskas, president of The Story Lab Global, a division of Dentsu Aegis Network. \u201cDifferent digital platforms are looking for different things\u2014different formats, different lengths, different genres. We have started building relationships and have developed some ideas with the social platforms.\u201d<\/p>\n

Of note, The Story Lab UK and youngest Media collaborated on Date or Dump\u00a0<\/em>for the social network UNILAD. No Sleep No Fomo<\/em>, meanwhile, was adapted for Asian OTT platform Viu.<\/p>\n

\u201cWe are building relationships on the back of the needs that the streamers have in terms of their audiences,\u201d Iskas notes.<\/p>\n

Hat Trick\u2019s Tong and Red Arrow\u2019s Gamsu both cite the impact of the streamers on the traditional licensing models. Gamsu says more value is being placed on rights and exclusivity as the market becomes ever more crowded and competitive, while Tong observes that the emergence of the VOD platforms has resulted in linear channels becoming less keen to share or window rights, on the understandable grounds that they don\u2019t want to share their audiences.<\/p>\n

STREAM ON<\/strong>
\nBut Gamsu reflects the general view when he says that the SVOD giants\u2019 move into unscripted ultimately means more format buyers. Fremantle\u2019s Clark calls it \u201cnothing but good news\u2014it\u2019s a major market for us, and a market that didn\u2019t exist five years ago.\u201d Endemol Shine\u2019s Perrin is also upbeat: \u201cI think the SVODs riding into town and getting into unscripted and local-language content is super exciting. Yes, it\u2019s challenging, because we have to engage with them in a different way, but we shouldn\u2019t be frightened. For all of us in scripted and non-scripted, it\u2019s a massive opportunity.\u201d<\/p>\n

Meanwhile, opinion is divided on the value of production hubs, which reached their zenith in the heyday of Wipeout <\/em>and\u00a0Fort Boyard<\/em>. Clark says he\u2019s never been a fan, other than for big, physical formats that require minimal emotional investment from the studio audience. \u201cIf the audience doesn\u2019t understand the language, know the host and celebrities, or appreciate the eccentricities of the local contestants, it kills the show,\u201d he adds.<\/p>\n

But Red Arrow\u2019s Gamsu says that the hub approach is being revisited as broadcasters look for smarter ways to stage the big visual productions that are back in fashion. \u201cWe\u2019re seeing more ideas where a hub model could be the solution to bring grander, more expensive shows to broadcasters of all sizes,\u201d he adds. This resonates with Banijay\u2019s Sime, who says hubs can reduce costs and simplify the production process for big-ticket formats with expensive sets, such as Survivor <\/em>and\u00a0Fort Boyard<\/em>. \u201cBut for mid-range titles, a hub can be a false economy,\u201d he cautions. \u201cFor all our productions, we work closely with the original producers and the new licensees to ensure we find the best solution.\u201d<\/p>\n

All, however, agree that partnerships are the bedrock of the formats industry, pivotal to creating shows that deliver both creatively and commercially. \u201cEverybody needs to have genuine creative buy-in and be prepared to share the risk of a project,\u201d says Red Arrow\u2019s Gamsu of the symbiotic relationship between broadcasters, producers and distributors. \u201cThis also means that each partner, importantly, is able to enjoy the commercial upside.\u201d<\/p>\n

Sime reports that Banijay partnered with Korea\u2019s SBS to create and develop the interactive music format Fan Wars<\/em>. He believes the marriage of SBS\u2019s local cultural knowledge and creativity and Banijay\u2019s international development expertise has been a significant factor in the show\u2019s success. Now, Banijay\u2019s global production and distribution network is being leveraged to roll the format out.<\/p>\n

So where next for the formats industry? Live events? Real-time interactivity? A step-changing, earth-shaking Next Big Thing\u2014or lots of next little things, to cater to the varied tastes of lots of little audiences? Endemol Shine\u2019s Perrin thinks all bets are off. \u201cThe Next Big Thing could be a Marie Kondo-type show on Netflix or something classic like The Voice\u00a0<\/em>that catches fire and blazes its way around the world. I\u2019ll be very happy if the Next Big Thing looks like All Together Now<\/em>, which was our fastest-traveling format of 2018.\u201d From Endemol Shine-owned Remarkable Television in the U.K., the singing-talent format launched on BBC One last year and, at the last count, had sold into 12 territories, including Brazil and Australia.<\/p>\n

NOW WHAT?<\/strong>
\n\u201cDaring creative ideas,\u201d is the mantra at The Story Lab, Iskas says. \u201cStrong creative ideas that bring something new to the audiences, to the broadcasters, the streamers and the market. We always try to find simple and single-minded creative ideas that deliver pure entertainment but also have a visual DNA that sets them apart from the competition. Game of Clones<\/em>, for example, has such a strong visual DNA. It\u2019s been selling across the world.\u201d<\/p>\n

In today\u2019s disrupted world, where the old-school entertainment brands are competing against any number of distractions, the Next Big Format feels increasingly like yesterday\u2019s fantasy. \u201cThere\u2019s such a variety of linear and digital platforms looking for such a diverse range of programming that I can\u2019t see there being a future for one Next Big Thing,\u201d says Hat Trick\u2019s Tong. \u201cWhat works for digital may not for linear and vice versa, plus there are so many niche channels.\u201d<\/p>\n

Red Arrow\u2019s Gamsu takes a similar view. \u201cThe days of a new format traveling to 20-plus countries within a year of launch are long gone. The formats business has matured and it\u2019s a slower build these days. The turnover of new formats is higher than ever, so getting broadcasters to stick with and grow a new show can be a challenge.\u201d<\/p>\n

For Red Arrow, the way forward is a mix of innovation and evolution, Gamsu adds. \u201cWe are always looking at how we can take a successful genre and move it forward with a different take or twist.\u201d<\/p>\n

Banijay\u2019s Sime believes that, when it comes to live or topical entertainment, nothing beats the power and punch of television. \u201cBig formats like Survivor\u00a0<\/em>can still bring countries to a standstill,\u201d he says. While Sime concedes that smash hits are rarer these days, the demand for \u201cgreat new formats\u201d remains as strong as ever. One contender from the Banijay stable is Brainpool\u2019s Catch!<\/em>, a sports event format\u2014inspired by the classic children\u2019s game\u2014that is launching at MIPTV. \u201cThe games at the heart of Catch!\u00a0<\/em>are universally appealing and recognizable, and the show can be scaled up or down as required,\u201d Sime says.<\/p>\n

Scalability is also on Rob Clark\u2019s mind, as he muses on the definition of the Next Big Thing, \u201cWhen we talk about the Next Big Thing, I assume we mean a successful show that travels to a number of territories? My trouble with that is that the impetus behind a new format should never be world domination. It should be about making the right show for your audience. Then, if your audience likes it and you\u2019ve followed certain rules\u2014scalability, returnability, universality and content that\u2019s transferable and promotable\u2014you may have a successful format on your hands. So I don\u2019t encourage people to think in terms of the Next Big Thing. We just concentrate on making the best shows we can.\u201d<\/p>\n

Pictured:\u00a0Global Agency\u2019s <\/em>Auction Queens.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Distributors discuss the biggest issues at play in the format business today.<\/p>\n","protected":false},"author":1,"featured_media":6820,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79],"tags":[],"class_list":["post-6819","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","pmpro-has-access"],"yoast_head":"\nFighting for Formats - 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\/fighting-for-formats\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fighting for Formats - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"Distributors discuss the biggest issues at play in the format business today.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/fighting-for-formats\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2019-03-28T15:00:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-03-28T17:39:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2017\/07\/AuctionQueens-MIPTV-419-th.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"319\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"World Screen\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"World Screen\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/fighting-for-formats\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/fighting-for-formats\/\",\"name\":\"Fighting for Formats - 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