{"id":7228,"date":"2019-10-07T13:00:08","date_gmt":"2019-10-07T17:00:08","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2019-10-07T13:15:03","modified_gmt":"2019-10-07T17:15:03","slug":"what-if","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/what-if\/","title":{"rendered":"What If…?"},"content":{"rendered":"

\"\"Joanna Stephens checks in on what\u2019s new in the high-risk game of social-experiment formats.<\/em><\/p>\n

To a degree, all reality formats seek to find the universal in the particular, but few do it with such fearlessness as social experiments, with their mission to cut through the frills of culture and conditioning to reach to the heart of the human condition.<\/p>\n

For Michael Iskas, the president of The Story Lab Global, the best social experiments put \u201cthe real back into reality\u201d by tackling the big things, from poverty and populism to refugees and relationships, in a responsible yet entertaining way. These shows, whose antecedents can be traced back to Big Brother\u00a0<\/em>and Survivor\u00a0<\/em>in the early 2000s, open a window on human behavior and psychology by testing people under controlled, albeit extreme, conditions.<\/p>\n

Then there are the social experiments that trade on shock value and fly-on-the-wall voyeurism to deliver a less edifying\u2014if no less addictive\u2014form of entertainment. \u201cThose are still engaging to watch,\u201d Iskas agrees, \u201cbut I don\u2019t think that they reflect the current market trend, which is increasingly towards formats that are hard-hitting, provocative, tackle real topics and challenges, but don\u2019t shock for shock\u2019s sake.\u201d The world, in short, doesn\u2019t need more naked celebrities on yachts. \u201cQuite apart from taste considerations, I don\u2019t think we can go much further down that road without alienating mass-market audiences,\u201d Iskas says.<\/p>\n

Hayley Babcock, the head of format production and acquisitions at A+E Networks, says that the social norms upon which the original social experiment was built must chime with the culture, standards and accepted practices of potential export territories. \u201cIf a format is meant to surprise viewers with the concept of an arranged marriage, for example, one has to know if arranged marriages are commonplace in a particular country,\u201d she says. \u201cIf so, that format is unlikely to have the same entertainment value or the impact of a social experiment.\u201d<\/p>\n

Sumi Connock, BBC Studios\u2019 creative director of formats, makes a similar point: \u201cMany issues are universal, but certain territories place more weight on particular issues. For this reason, social-experiment formats that are issue-based don\u2019t travel in quite the same way, or at the same speed, as broader genre formats. And when they do travel, a detailed production bible and a specialist production consultancy are paramount.\u201d<\/p>\n

Finding the right local talent can also be tricky when adapting social experiments in multiple markets, adds Revital Basel, the managing director of networks at Keshet International (KI)\u2014especially if the star is the story. She cites Koda Communications\u2019 celebrity-led dating format Anna\u2019s 12 Steps to Love<\/em>, which follows professional dancer Anna Aronov on a 21-day quest to find the perfect partner. The format lives or dies on casting a relatable celebrity singleton who\u2019s willing to put themselves into a hyper-emotional, revealing situation and be filmed at their most exposed and vulnerable.<\/p>\n

\u201cYou see this woman falling in love on the TV screen before you,\u201d Basel says. \u201cYou feel her emotional journey and it\u2019s compelling to watch. But the challenge will be finding local \u2018Annas\u2019 in each territory that picks up the format.\u201d<\/p>\n

GETTING REAL<\/strong>
\nThe rawness and authenticity of social experiments like Anna\u2019s 12 Steps\u00a0<\/em>also contrast favorably with many of today\u2019s reality-TV offerings, which have become increasingly constructed in recent years. There\u2019s growing evidence that viewers have had enough of contrived narratives and faux emotions; they want to see real people living through real situations that resonate with their own experiences.<\/p>\n

If you can get viewers to ask, How would I behave in that situation?, you\u2019re likely to have a success on your hands, Iskas at The Story Lab reflects.<\/p>\n

KI\u2019s Singletown<\/em>, broadcast on the U.K.\u2019s ITV2, sees five couples press pause on their relationships to spend a summer living the single life in London. \u201cIt poses the real-life question of, Is the grass greener on the other side?\u201d Basel says. \u201cPeople anywhere in the world can immediately relate to the question of whether they\u2019d be better off staying in a relationship that isn\u2019t working for them, or starting anew.\u201d<\/p>\n

Recent months have seen a spate of suspected suicides among reality-TV contestants, including two former stars of ITV2\u2019s Love Island<\/em>. Indeed, a report earlier this year in the U.K. newspaper The Sun\u00a0<\/em>claimed that, since 1986, some 38 people worldwide have died in suspected suicides linked to reality TV shows. Understandably, this has sparked a conversation about the psychological pressure of instant fame; the safety, dignity and emotional stability of contestants and whether producers and broadcasters are doing enough to protect the vulnerable.<\/p>\n

DUTY OF CARE<\/strong>
\nDavid Williams, managing director of non-scripted at Keshet UK, says that with a show such as Singletown<\/em>, the duty-of-care process starts the moment a potential contestant walks into the production offices and extends well beyond the airing of the last episode. \u201cFrom keeping all data secure to verifying identity, taking professional references and medical and psychological assessments, duty of care is a huge part of the casting process,\u201d he says. \u201cAnd if concerns arise at any point, we will always err on the side of caution.\u201d<\/p>\n

During filming, contestants are closely observed by professionals and have access to 24-hour support. \u201cBut the bigger challenge is to ensure they can access any support they need once filming stops and they return home,\u201d Williams adds. \u201cNot only does Keshet go into each production with the level of post-show support agreed with the broadcaster, but the program of care is constantly refined throughout a project\u2019s lifespan.\u201d<\/p>\n

Over at A+E Networks, Babcock reports similarly stringent safety guidelines for all formats, regardless of genre. \u201cEach show will have its own particular and specific needs,\u201d she says, with physically challenging formats requiring more stringent physical safety guidelines, and emotionally challenging shows requiring more psychological support. Not only should safety protocols and practices be \u201cbaked in\u201d from the get-go, she adds, but they should also be guided, upheld and monitored by all the production stakeholders, from IP owners and distributors to local producers and broadcasters.<\/p>\n

OF THE MOMENT<\/strong>
\nWith its Channel 4 show about living with dementia, The Restaurant That Makes Mistakes<\/em>, CPL Productions went as far as obtaining consent not only from the on-camera participants but from their families\u2014and on a daily basis. \u201cWe also made sure there was additional and independent help for contributors and their family members, as the ongoing duty of care was of paramount importance,\u201d says Nina Etspueler, the group creative director of Red Arrow Studios, CPL\u2019s parent company.<\/p>\n

With dementia currently the focus of much attention as life expectancy increases around the world, The Restaurant That Makes Mistakes <\/em>is also a good example of a social experiment that, as Etspueler puts it, \u201ccaptures the zeitgeist.\u201d The best social experiments, she adds, \u201ctake a subject that is relevant and resonant, and dig deep to explore it from the inside in an innovative, empathetic and entertaining way, revealing much about the current state of our society and our values.\u201d<\/p>\n

Interestingly, BBC Studios has been mining similar territory with Our Dementia Choir<\/em>, which explores the positive effect of music on the lives of both people living with dementia and those who care for them. \u201cThis huge social experiment helped raise awareness of the effects of music therapy, but it also contributed to scientific research that could help others in the future,\u201d Connock says. She adds that the producer, Curve Media, partnered with a major U.K. charity to ensure that the science supporting Our Dementia Choir\u00a0<\/em>was both credible and potentially useful to future research programs.<\/p>\n

Red Arrow has taken on another issue arising from the world\u2019s greying population\u2014social isolation among the elderly\u2014in its critically acclaimed Old People\u2019s Home for 4 Year Olds<\/em>, also produced by CPL Productions for Channel 4. Now licensed in more than ten territories, the format unleashes a posse of tiny children on the residents of a care home in an intergenerational experiment designed to help alleviate loneliness, anxiety and depression.<\/p>\n

You Are Not A Loan<\/em>, the first fruit of The Story Lab\u2019s fact-ent co-creation partnership with Renowned Films, sees 30 people from a single postal code join forces to eliminate their debt. It undoubtedly ticks the entertainment-with-a-purpose box, addressing a genuine social problem\u2014the U.K.\u2019s spiraling addiction to debt. But it also has all the elements of a cracking good story, complete with drama, tension, highs, lows and (one hopes) a happy ending, as a community works together to wipe out \u00a3500,000 of collective debt in just 12 months.<\/p>\n

Echoing The Story Lab\u2019s Iskas, Etspueler believes there is a move away from confrontational, antagonistic shows toward \u201cgentler, more empathetic ideas\u201d that aim to change hearts, minds and attitudes in a positive way. The Restaurant That Makes Mistakes<\/em>,\u00a0Our Dementia Choir <\/em>and\u00a0Old People\u2019s Home for 4 Year Olds\u00a0<\/em>fall into this category\u2014as does arguably the most successful social-experiment format of recent years, Married at First Sight <\/em>(MAFS<\/em>).\u00a0<\/em>Created by Red Arrow-owned Snowman Productions in 2013 for Denmark\u2019s DR, the format explores the science of romance by matching strangers and introducing them at the altar. The newlyweds then agree to live together for several weeks, before deciding whether to divorce or stay together.<\/p>\n

WEDDING FEVER<\/strong>
\nMAFS <\/em>has been formatted in some 30 territories, including the U.S., where the success of the ninth season resulted in Lifetime ordering two more seasons; and Australia, where the sixth season on Nine Network won its prime-time slot for every episode. But its success was certainly not a given, Etspueler says, with many buyers initially alarmed by its controversial premise and noisy, headline-grabbing title. \u201cBut once broadcasters understood that, at the heart of the show, there is an authenticity and honesty about helping single people find love, and that it\u2019s a beautifully formatted idea, any feelings of risk became a desire to do something bold and fresh,\u201d she adds.<\/p>\n

MAFS <\/em>also epitomizes arguably the most important quality needed to make a format replicable: a challenge that resonates universally. While MAFS <\/em>turns on the basic human urge to find a mate, KI\u2019s ambitious 2025\u00a0<\/em>tackles the game of life itself. The format, which rolled out on Keshet 12 in early February and has been commissioned for a second season, sees 12 contestants enter a generic \u201cnear-future\u201d mini-city, operated by humanoid robots. The moment they enter the purpose-built community, contestants begin to play a game of strategy, where their status, options and, ultimately, fate are determined by the social currency they accrue. \u201cThe situation is not specific to any one territory and is immediately familiar to anyone living in an urban environment,\u201d Basel says. Psychiatrists are on hand to ensure that the city\u2019s denizens remain safe\u2014and sane.<\/p>\n

The scale of 2025<\/em>\u2019s set makes it a prime candidate for a production hub. \u201cWe\u2019ve built a completely bespoke unit on a 64,000-square-foot plot, which houses the 2025\u00a0<\/em>city itself, the production rooms and a set for the live show,\u201d Basel says. Keshet is viewing the city as a long-term investment. \u201cWhen we\u2019re not using the hub, we\u2019ll have space for at least two or three additional countries to come on board,\u201d Basel adds.<\/p>\n

HUB APPROACH<\/strong>
\nA+E\u2019s Babcock is also a fan of production hubs for set- or location-dependent formats. She references Alone<\/em>, which has wrapped its sixth season on HISTORY, in which contestants are dropped into the wilderness, armed only with basic survival equipment and their own cameras. Their mission is to stick it out for as long as they can handle the physical hardship and loneliness, not to mention the atavistic fear of being eaten by a bear. While in this instance nature provides the actual set, Babcock says a production hub is still invaluable in helping to keep costs affordable, with producers able to share investment in location scouting, setup, technical equipment and even below-the-line staff.<\/p>\n

For Babcock, two of A+E\u2019s most successful social-experiment formats\u2014Seven Year Switch <\/em>and Bride & Prejudice<\/em>\u2014demonstrate why audiences are increasingly drawn to the genre. \u201cFirst, each has a baseline DNA of good intentions,\u201d she says. \u201cThe end goal of the created structure is to see if something happy, good or positive can occur. And second, the participants\u2019 experiences in each show are genuine. The jumping-off points may come from a constructed setting put together by a TV production, but the personal journeys are relatable and could happen in the \u2018real world\u2019 without stretching the imagination too far.\u201d<\/p>\n

The sales figures support Babcock\u2019s analysis. A+E\u2019s Seven Year Switch <\/em>has been picked up by, among others, the U.K.\u2019s Channel 4, Australia\u2019s Seven Network, Italy\u2019s Fox Life, Spain\u2019s Antena 3 and RTL4 in the Netherlands.\u00a0Bride & Prejudice<\/em>, featuring unconventional couples whose conventional families are thwarting their unions, has spawned local iterations in Australia and the U.K.<\/p>\n

STAR POWER<\/strong>
\nOn the question of whether social experiments are appropriate vehicles for celebrities, Babcock believes fame and real life make uncomfortable bedfellows. \u201cA true social experiment explores a new world and assesses how everyday people react in that new, experimental world,\u201d Babcock maintains. The moment famous faces are involved, the show becomes a different animal\u2014even if the celebs in question are displaying genuine emotions and living real experiences.<\/p>\n

BBC Studios\u2019 Connock is less hard-line, noting that star power can help bring audiences to a social experiment, especially if the star in question is passionate about the project. This was the case with Our Dementia Choir<\/em>, which was presented by well-known U.K. actress Vicky McClure, who helped care for her grandmother after she was diagnosed with the disease. \u201cCelebrity involvement can help raise awareness of an important issue,\u201d Connock adds.<\/p>\n

Connock reflects the general view when she says there is a definite shift in tone from the voyeuristic reality formats of recent years to shows that are more socially conscious. \u201cAs a result, there has been an uplift in demand for factual entertainment with a purpose, which is where most of our social experiments fall,\u201d she says. A case in point is The Week the Women Went<\/em>, which first aired on BBC Three in 2005. The format, which sees all the women walk out of a community for a week to see how the men get on without them, has recently enjoyed a surge in sales, \u201cmost likely down to the current climate and the #MeToo movement encouraging female empowerment,\u201d Connock says.<\/p>\n

Relevance is also a powerful factor in selling social experiments, Connock adds. She points to Filthy Rich and Homeless<\/em>, in which five wealthy volunteers swap their privileged lives for a spell on the streets. SBS ordered a local version of the BBC format to help expose the myths and explore the realities of living rough. After the first season, which aired in 2017, it was reported that Australian homeless organizations saw a spike in volunteers and donations, indicating that social experiments can, as Connock puts it, \u201cprovoke thought and promote change.\u201d<\/p>\n

As to where social experiments will take us next, Connock tips shows that explore the generation gap \u00e0 la Old People\u2019s Home for 4 Year Olds\u00a0<\/em>and another hot issue du jour: sustainability. \u201cGiven how conscious Generation Z is about the environment, plus the rise in veganism and plant-based lifestyles, I wouldn\u2019t be surprised to see this also taking shape in some form of social experiment in the not-too-distant future.\u201d<\/p>\n

Filthy Rich Go Green<\/em>, anyone?<\/p>\n","protected":false},"excerpt":{"rendered":"

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