{"id":7028,"date":"2019-06-17T12:00:51","date_gmt":"2019-06-17T16:00:51","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2019-06-17T12:51:16","modified_gmt":"2019-06-17T16:51:16","slug":"format-frenzy-2019","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/format-frenzy-2019\/","title":{"rendered":"Format Frenzy"},"content":{"rendered":"

\"\"Kristin Brzoznowski checks in on the latest trends in the format business across Europe.<\/em><\/p>\n

With cord-cutting heating up in the European TV landscape and the number of on-demand platforms mushrooming, the craving for shows simmered in local flavors has intensified among broadcasters in the region. Channels in Western Europe and across Central and Eastern Europe (CEE), hoping to attract younger viewers in particular, are looking to formats as a way to stand out amid the vast buffet of entertainment options on offer these days.<\/p>\n

\u201cAcross Europe, there is an appetite to create homegrown content,\u201d says Mark Lawrence, executive director for EMEA at Endemol Shine International. \u201cThe constraints on the volume of regional production will always be governed by budget considerations, which can be balanced with finished acquired programming\u2014and indeed, the finished and format of the same show on a platform can complement each other.\u201d<\/p>\n

Lawrence points out that long-running global formats are continuing to do well in Europe. For example, from the Endemol Shine stable, Big Brother\u00a0<\/em>is celebrating its 20th anniversary and \u201cis enjoying one of its best years yet,\u201d he says. \u201cThe teams have been implementing innovative tech to revitalize the production process.\u201d The show made a comeback in Poland after 11 years off the air and also returns in Finland this year.<\/p>\n

MasterChef<\/em>, too, is \u201cuniversally loved in [many] countries and is constantly being innovated,\u201d Lawrence adds. \u201cIn Spain, they have launched bespoke content on YouTube to draw in a new, younger audience.\u201d<\/p>\n

\u201cOur globally successful talent shows continue to be renewed and are delivering for our respected partners, especially our iconic entertainment brands Got Talent<\/em>, Idols\u00a0<\/em>and X Factor<\/em>,\u201d says Daniela Matei, CEO for the Nordics, Central and Eastern Europe and the Balkans at Fremantle.<\/p>\n

The company has also recently received \u201ca lot of interest\u201d for its new entertainment format The Greatest Dancer<\/em>, according to Matei. She adds that prime-time game shows such as the classics Family Feud\u00a0<\/em>and Golden Brain<\/em>, as well as comedy panel shows, including What\u2019s My Line\u00a0<\/em>(Inkognito<\/em>), To Tell the Truth\u00a0<\/em>and Who Knew<\/em>, are continuing to notch up recommissions.<\/p>\n

HERE TO ENTERTAIN<\/strong>
\n\u201cGenerally, the interest from Western Europe and CEE is in the same genres, such as shiny-floor entertainment, game shows, dating shows and comedy panel shows,\u201d Matei says of the regional format tastes.<\/p>\n

Keren Shahar, the COO and president of distribution at Keshet International, reports \u201cvery healthy\u201d format sales across both Western and Eastern Europe. \u201cWe haven\u2019t seen much change in Western Europe in the past six months, and the needs remain the same. We have, however, seen steady growth in Eastern Europe, in both scripted and non-scripted formats,\u201d she adds.<\/p>\n

Like Matei, Shahar says that game shows have been top draws. \u201cStudio-based game shows for access prime very much remain in demand,\u201d she notes. \u201cBOOM!<\/em>, our best-selling game show, works very well in the daily access-prime slot.\u201d The format has been licensed in 20 territories to date, including Italy, where more than 400 episodes have aired, and Spain, where the show celebrated its 1,000th episode this year.<\/p>\n

\u201cIn CEE, prime time is still very much dominated by shiny-floor, studio-based formats and reality shows that have a proven track record in several territories,\u201d she says. \u201cWhile in Western Europe, factual entertainment is being added to the mix,\u201d a trend she also sees beginning to make its way into CEE territories.<\/p>\n

\u201cIn general, CEE is becoming more open to experimentation, with different genres and also formats that have not necessarily aired in major, or multiple, territories being considered,\u201d Shahar adds. \u201cWe are also seeing increased interest in the Nordics for our fact-ent formats.\u201d<\/p>\n

\u201cThe Scandinavian territories are, in a way, waking up,\u201d agrees Amos Neumann, the COO of Armoza Formats. \u201cThere was quite a decline in their consumption of formats recently, but we now see an interesting awakening in these territories. They have realized that there is a limit to what you can do with older things that keep coming back, that you need to open yourself up.\u201d<\/p>\n

In CEE, he says, \u201cBesides the usual suspects\u2014which are the big prime-time shows\u2014they are looking for strong factual entertainment.\u201d The Western part of Europe is \u201cmore U.S.-oriented in terms of content,\u201d Neumann adds. \u201cShows that will find themselves in prime time in Eastern Europe will be daytime, afternoon or access-prime-time shows in Western Europe. They are still looking for the big franchises for prime time.\u201d However, he has seen that broadcasters in this part of the world are getting edgier in the content that they are seeking out. \u201cChannel 4 in the U.K. [which aired Armoza Formats\u2019 social experiment Sex Tape<\/em>] has been edgy for a while. But in Poland, they bought the U.K. [version] of Sex Tape<\/em>, and we have a Belgian version, a Dutch version and soon it\u2019s going to be picked up in Germany. They are more inclined to get edgier content than they used to be.\u201d<\/p>\n

One reason for this, he says, is the declining audiences for traditional linear broadcasters. \u201cWhen you\u2019re looking at the opportunity to attract the audience, you have to be different…. Another thing is attracting younger audiences. The decline in younger audiences is much greater than in the 55-plus demo that is watching traditional TV. This decline drives the broadcasters to try different things and to engage their digital outlets\u2014to perhaps start things on digital and move them to traditional channels and vice versa.\u201d He points to Scandinavia and the U.K. as positive examples of this.<\/p>\n

Ben Packwood, sales manager for EMEA North at all3media international, says that recently, Eastern Europe has proven to be \u201ca strong market for formats because local productions are necessary there to grow channels, and local content is needed to resonate with audiences. Successful, well-traveled formats tend to be the most attractive in the region, as they generally look for tried-and-tested ideas.\u201d<\/p>\n

RISK-TAKERS<\/strong>
\nRussia and Poland are willing to take more risks, Packwood says, highlighting the sale of 24 Hours to Hell and Back <\/em>into Russia as the format\u2019s first international version. \u201cOther countries in the region tend to look at Poland and Russia; if they have adapted a format, it\u2019s easier to get the attention of other countries, as they can better see that it works for budgets typical for the region.\u201d<\/p>\n

Indeed, according to Packwood, one of the most noticeable differences between the regions is budgets. \u201cAnother difference is that CEE has an appetite for constructed reality,\u201d he adds. \u201cThis has contributed to the success of our constructed-reality strand over the last decade,\u201d with hits such as Day and Night <\/em>and Cases of Doubt<\/em>. \u201cOther factors include that it offers a large volume of scripts. This allows channels to strip content.\u201d<\/p>\n

Likewise, Global Agency has seen the greatest traction in CEE with its daily stripped shows, says Senay Tas, regional sales director. \u201cOur style shows have sold best, but also our cooking shows. In CEE, we recently licensed our cooking format My Wife Rules\u00a0<\/em>to Bosnia, and we are very excited to see how it will work, as this is our first format sale to the country in many years. We are also pleased to collaborate with the Slovenian public broadcaster on our quiz show Joker<\/em>. The channel has already ordered additional episodes for next year.\u201d<\/p>\n

Looking ahead, she forecasts that \u201cthe trend of reality, cooking and daily stripped shows will continue in CEE for another couple of years. In Western Europe, we will continue to see reality, social experiments and factual entertainment in the future. Shiny-floor talent shows always have a chance.\u201d<\/p>\n

Pictured: Global Agency<\/em>‘s Shopping Monsters.<\/p>\n","protected":false},"excerpt":{"rendered":"

Kristin Brzoznowski checks in on the latest trends in the format business across Europe.<\/p>\n","protected":false},"author":350,"featured_media":7029,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[157,103,1443,1482,101,124],"class_list":["post-7028","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","tag-all3media-international","tag-armoza-formats","tag-endemol-shine-international","tag-fremantle","tag-global-agency","tag-keshet-international","pmpro-has-access"],"yoast_head":"\nFormat Frenzy - 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\/format-frenzy-2019\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Format Frenzy - 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