{"id":9561,"date":"2023-03-06T08:30:21","date_gmt":"2023-03-06T13:30:21","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2023-03-07T11:35:09","modified_gmt":"2023-03-07T16:35:09","slug":"back-in-bloom-state-of-the-format-industry","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/","title":{"rendered":"Back in Bloom"},"content":{"rendered":"

The format industry\u2019s leading players weigh in on what\u2019s driving the business today.<\/em><\/p>\n

The 2000s ushered in the era of the megaformats, marking the arrival of global hits like Who W<\/em>ants to Be a Millionaire?<\/em>, Big Brother<\/em> and Sur<\/em>vivor<\/em>. Twenty-plus years later and the business is thriving\u2014with those brands remarkably still on the air in several territories\u2014despite what has been a difficult few years.<\/p>\n

\u201cThe format business was one of the first to slow down when Covid-19 hit, but it was also one of the first to quickly respond and kick off again,\u201d says Tim Gerhartz, the managing director of Red Arrow Studios International. \u201cIt\u2019s an adaptable and flexible genre, as you can quickly stop and start production; you easily can change elements or adjust the volume as needed or to suit demand.\u201d<\/p>\n

James Townley, global head of content development at Banijay, observes, \u201cWe are seeing a bounce back both from a new IP point of view, as well as with our big super-brands. The opportunities are all there.\u201d<\/p>\n

Andre Renaud, senior VP of global format sales at BBC Studios, notes that while the segment struggled as productions were shut down or scaled back, format licensing and development proceeded at a brisk pace.<\/p>\n

\u201cPeople were looking to us for high-quality shows that they could get to air quickly and to find formats that could be produced under a Covid-safe environment,\u201d he explains, citing new deals for Weakest Link<\/em> in the U.S., Greece and Australia.<\/p>\n

All3Media International, similarly, is home to several brands that were able to continue production amid the pandemic \u201cand even gain new commissions, such as Gogglebox<\/em> and The <\/em>Cube<\/em>,\u201d says Nick Smith, the company\u2019s executive VP of formats. \u201cThe sector has more than bounced back. Race Across the World<\/em>, which couldn\u2019t be produced in 2020-21, now has three versions in production.\u201d<\/p>\n

NEW NEW THINGS<\/strong>
\nProduction slowdowns also provided an opportunity for producers to come up with new concepts, according to Renaud. \u201cThat time is now starting to bear fruit. If we\u2019re looking at a bounce back, it\u2019s probably about these creative ideas that people had the freedom and flexibility to come up with.\u201d<\/p>\n

Tom Miyauchi, head of formats, international business development at Nippon TV, concurs with Renaud\u2019s assessment, noting, \u201cFormat creators from around the world lived the new norm and spent the past two years concentrating on the development of new ideas. As a result, we are now seeing a burst of creativity in the market with many new formats.\u201d<\/p>\n

For Avi Armoza, founder and CEO of Armoza Formats, a division of ITV Studios, that influx of creativity has been crucial as broadcasters actively seek compelling new propositions. \u201cDuring Covid, most broadcasters exhausted their current formats and had less of a need or desire to change their lineup of shows and bring in something new. Due to this exhaustion, broadcasters are back searching for new formats to either replace an established show or to give a break to the well-known formats before bringing them back to their viewers.\u201d<\/p>\n

STREAM ON<\/strong>
\nThe fast-proliferating on-demand landscape is also helping to power the revival of the formats business, with All3Media International\u2019s Smith pointing to the arrival of a wealth of new buyers. \u201cWe have licensed formats to global and local SVOD platforms this year such as discovery+, HBO Max, Streamz and VOYO,\u201d he says. \u201cOur formats business has surpassed where we were before the pandemic.\u201d<\/p>\n

The consensus among format rights owners is that the needs of broadcasters and streamers are not as different as they once were.<\/p>\n

\u201cBroadcasters all have a VOD strategy now,\u201d says Gerhartz at Red Arrow Studios International. \u201cThey\u2019re all looking for hybrid formats that can work on both linear and non\u00adlinear and that also offer volume, especially for the binge-watching audience.<\/p>\n

\u201cThere are exceptions, though,\u201d Gerhartz adds. \u201cCertain genres remain a linear game, such as live event shows and studio-based game shows. But most traditional networks are equally looking for binge-watchable, VOD-capable shows.\u201d<\/p>\n

BBC Studios\u2019 Renaud says there are slight nuances in the different needs across platforms. \u201cThe bigger broadcasters are looking for prime-time entertainment brands that draw a large audience. The growing competition among the streamers themselves means they\u2019re also looking for brands with wide appeal. They\u2019re often looking for established brand names or talent to stand apart from their competitors. It seems like every streamer is looking for their niche in dating and cooking\u2014[which] are evergreens for linear broadcasters, too. The main advantage for streamers is that they have the nuanced audience data and, therefore, the ability to create new ideas targeting a specific audience.\u201d<\/p>\n

\u201cThe wants and needs of the broadcasters and streamers are merging,\u201d agrees Townley at Banijay. \u201cLocal networks all have catch-up services. They all want content that resonates with audiences, whether it\u2019s four-quad, family viewing or a younger demographic, and successful formats that are low-cost and high-volume are definitely desirable. The broadcast networks have the ability to deliver live, appointment-to-view television, and they are really strong in the studio entertainment space. But at the end of the day, they all want content; they want to feed the beast. The streamers also want to keep viewers for the entirety of a series, whereas some broadcast networks can do stand-alone non-scripted entertainment shows audiences can dip in and out of.\u201d<\/p>\n

Armoza agrees, stating that the clear difference between streamers and broadcasters is that the former prefer shows with an arc and a clear visual hook that will grab audiences immediately.<\/p>\n

\u201cStreamers are looking for titles that really stand out from the crowd,\u201d says All3Media International\u2019s Smith. \u201cStreamers are also open to shows that are more niche than linear broadcasters would go to\u2014they don\u2019t necessarily have to attract a huge audience but serve neglected groups and convince them to subscribe to their platform.\u201d<\/p>\n

Sophie Ferron, president and founder of Media Ranch, adds that the global streamers \u201calso need to control the international rights. The networks want that same high-concept idea. They\u2019re competing against the streamers. It\u2019s an opportunity for the producers to go to the broadcasters and get a better deal. They will be more generous in terms of international rights because they know that the streamers are not. That\u2019s an opportunity for producers and format creators like us.\u201d<\/p>\n

BRAND RECOGNITION<\/strong>
\nWith Dancing with the Stars<\/em> moving to Disney+ and Netflix resurrecting The Mole<\/em>, it\u2019s clear that reboots and megabrands are being sought after by broadcasters and platforms alike.<\/p>\n

A returning franchise is the holy grail for format IP owners, and many of the distributors surveyed here have taken great pains to ensure that their megabrands return refreshed and updated, season after season.<\/p>\n

At Red Arrow Studios International, Gerhartz references the time that has gone into building Married at First <\/em>Sight<\/em> into a franchise, with broadcasters such as Channel 4 in the U.K., Lifetime in the U.S. and 9Network in Australia \u201csupersizing their offerings\u201d of the show, he says. \u201cDuring Covid, especially, many channels realized they could turn Married at First Sight <\/em>into a megabrand with spin-offs and additional tapes of other international versions. We even have a couple of countries that have two separate versions on air at the same time; RTL in the Netherlands has a more traditional version on the main channel and a more reality-TV-driven version on the VOD platform, while in Finland, MTV3 has commissioned a 20-episode supersized version to sit alongside the original version.\u201d<\/p>\n

Gerhartz continues, \u201cThe key to successful brand management in the format business is to ensure a show remains authentic and true to itself but has room to develop in response to changing viewing patterns and habits.\u201d<\/p>\n

BBC Studios is home to such megaformats as Dancing with the Stars<\/em> and The Great Bake Off<\/em>. \u201cWe\u2019re always asking ourselves, how do we keep improving?\u201d Renaud says. \u201cWe make sure that our flying producer network has opportunities for our commissioners and producers around the world to have creative exchanges. We\u2019re continually trying to see if something that works in one place can travel elsewhere. In one territory, Bake Off<\/em> did a house of cards with biscuits. The visual was so strong and persuasive at a creative exchange that we saw three or four other markets replicate it.\u201d<\/p>\n

At Banijay, Townley\u2019s colleague Lucas Green, global head of content operations, is laser-focused on maintaining that company\u2019s significant portfolio of hits. Townley refers to the process as \u201ccreative renewal.\u201d<\/p>\n

Older formats are also being dusted off and rebooted, with broadcasters and platforms looking to hedge their bets slightly by offering up something that is both new and has some brand recognition.<\/p>\n

\u201cWe are also seeing a revival of shows that were strong before Covid, like Old People\u2019s Home for 4 Year Olds<\/em>,\u201d Gerhartz says, pointing to Old People\u2019s Home for Teenagers<\/em> in Australia. \u201cIt\u2019s a good example of taking an existing brand but renewing it and putting it into a fresh context. The idea is still relevant; you just have to update the execution.\u201d<\/p>\n

BBC Studios\u2019 Renaud agrees that there\u2019s a trend toward rebooting older fare, \u201cbut it\u2019s shows that have had a good pause from TV, so it feels like a renaissance instead of a risk-averse piece,\u201d he says.<\/p>\n

But an industry reliance on reboots and megabrands does make it that much harder for a brand-new idea to break through.<\/p>\n

\u201cIt\u2019s not easy to make it in non-scripted,\u201d says Nadav Palti, president and CEO of Dori Media Group. \u201cYou develop and develop and develop. Only 1 out of 100 makes it and catches the audience. It\u2019s very tough to convince a broadcaster to take the risk and put it on air.\u201d<\/p>\n

Audiences are, however, clamoring for new concepts, Media Ranch\u2019s Ferron says. \u201cWhen something breaks out, like Love Is Blind<\/em>, everybody watches it. There\u2019s an appetite for new. What we see with the megabrands is the risk-averse executives saying, Well, at least we know what we have in this. It\u2019s the devil we know. But after a while, you need to think of what will be the next thing.\u201d<\/p>\n

Armoza notes, \u201cThis is the contradiction that we see in the industry of formats and new ideas\u2014there is a strong need for new ideas, but at the same time, broadcasters feel safe to keep broadcasting the shows they know and have a track record already.\u201d<\/p>\n

However, IP owners are seeing some willingness on the part of buyers to try unproven ideas, despite the recessionary fears gripping the global economy.<\/p>\n

\u201cI don\u2019t think anybody in this industry can afford to act risk-averse\u2014maintaining the status quo is not an option anymore,\u201d Gerhartz at Red Arrow Studios International says. \u201cIt\u2019s an industry in a state of transformation, the speed of which has accelerated because of Covid. There\u2019s certainly a strong willingness to shape the future, push boundaries and try new things.\u201d<\/p>\n

RISK & REWARD<\/strong>
\nBanijay\u2019s Townley says broadcasters are being considered in their choices given the uncertain economic climate. \u201cThey have to be incredibly strategic about what they invest in and the bets they are taking. Luckily, most buyers are quite balanced with taking on existing and new IP. We\u2019re a creative community, but we can\u2019t ignore the financial constraints\u2014creatives want budgets to go up, not down, but we have to be able to adapt, and we\u2019re here to help find those solutions.\u201d<\/p>\n

Paul Gilbert, senior VP of international formats at Paramount Global Content Distribution, says broadcasters are particularly focused on budgets given the concerns about next year. \u201cTheir way of combatting the economic climate is to cut the cost of production. I get it. However, we try to convince them to order more episodes, which will result in a lower cost per episode. Sometimes they agree, and sometimes they don\u2019t.\u201d<\/p>\n

While Gilbert notes that pitching a show with a track record is helpful, broadcasters shouldn\u2019t be overly reliant on ratings in another territory when making commissioning decisions. \u201cThere\u2019s nothing better than pitching a show that is on-air and is successful. Everyone wants to buy off success, and I understand that. However, many great shows have not made it past season one for several reasons: bad time slot, subpar casting or not being well produced. I always tell a buyer, Forget how the show performed on-air\u2014if you like it and feel it will do well for your channel, then step up and make us an offer.\u201d<\/p>\n

Smith at All3Media International says that creators need to be, well, extra creative in this landscape. \u201cFormat creators have to be smart, whether that means partnering with owners of IP from other spheres to create a TV format or finding ingenious ways to promote new shows. For example, in Belgium, we have closed a deal with a company that operates virtual reality venues to create a game based on the celebrity horror format Don\u2019t Scream<\/em>. They are promoting the game and also the TV series, which, of course, is attractive to the commissioner.\u201d<\/p>\n

Co-development initiatives, whether among producers, broadcasters or distributors, can also be an effective process for building formats that are scalable and easily replicable.<\/p>\n

\u201cNippon TV is a pioneer in format co-developments, having partnered with major studios such as Red Arrow Studios for Block Out<\/em>, ITV Studios for Stacking It!<\/em> and The Story Lab for 9 Windows<\/em>, and many more,\u201d says Miyauchi. \u201cIt does take some time to develop new formats across different cultural backgrounds; however, we have garnered many more opportunities and partnerships than ever before with format co-developments. We are expanding our global footprint by building new strategic creative collaborations with international partners to create original content for viewers worldwide.\u201d<\/p>\n

\u201cCo-development is really about creating a partnership between companies with great ideas, in-depth local knowledge about what their respective market wants, great access to commissioners and budgets, and expertise in marketing and selling the idea,\u201d says Red Arrow Studios International\u2019s Gerhartz. \u201cThat\u2019s the purpose of the distribution business: to turn an idea into business\u2014it\u2019s not enough to just have a great idea. These partnerships can happen across any territories and on different levels of the value chain.\u201d<\/p>\n

INFORMATION EXCHANGE<\/strong>
\nCreative exchange happens across the Banijay portfolio of 120 companies, Townley says. \u201cWe have an internal creative fund set up to invest in embryonic new ideas, fully focused on supporting our producers and supercharging our development pipeline. We know how competitive this market is, so we need to make our IP stand out. We\u2019ve seen positive outcomes from ensuring a new idea is well supported with exceptional materials.\u201d<\/p>\n

Renaud points to the development that is happening across BBC Studios, referencing as an example Ex Rated<\/em>, created by U.K. indie Mighty Productions. \u201cOur L.A. production team worked with them to develop it and attach talent, and it got picked up by Peacock in the U.S. With that U.S. commission, we can take it back out into the market.\u201d<\/p>\n

Dori Media is looking for new ideas via an accelerator \u00ad\u00adprogram. Palti notes: \u201c156 new ideas were submitted to the program. We chose 20 and then six and then we chose two to develop. Spy Date\u00a0<\/em>is a different angle on dating. It combines a secret world\u2014Mossad, CIA, KGB\u2014with love and dating. Stand-Up Warrior<\/em> has comedians who have to prove themselves in a space they are not comfortable in.\u201d<\/p>\n

Nippon TV, meanwhile, \u201claunched a new creative team internally with a thriving group of young creators who specialize in developing new paper formats and new creative collaborations,\u201d Miyauchi says.<\/p>\n

Armoza Formats, which is part of the ITV Studios network, has a range of processes in place to spot the next big thing. \u201cOur dynamic development team brings a deep knowledge of the industry and creative ways of thinking,\u201d says Armoza, who adds that the company hosts an annual pitch competition, Formagination.<\/p>\n

Media Ranch hosts Horsepower, an incubator program for new ideas, and partners with producers across the globe. \u201cWe are extremely open to receiving pitches from all over the world,\u201d Ferron says. \u201cWe have strong relationships in Scandinavia and South Korea, and we recently closed a deal with Trace Studios in South Africa. That gives us a footprint in these territories. That\u2019s how we get to these new territories and these new creators. And we have the creators from Horsepower coming to us with new formats and ideas.\u201d<\/p>\n

Ultimately, \u201cgood ideas can come from anywhere in the world,\u201d Gerhartz at Red Arrow Studios International says, \u201cbut it needs know-how and experience to turn an idea into a project.\u201d<\/p>\n

\u201cWe are in the business of telling stories,\u201d Armoza says. \u201cFrom our perspective, every format is a story. It seems at this point that all the stories have been told. The challenge now is to find a new way to tell the story of talent shows, entertainment shows, reality shows.\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Mansha Daswani checks in with some of the format industry\u2019s leading players on what\u2019s driving the business today.<\/p>\n","protected":false},"author":290,"featured_media":9562,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[157,2037,103,178,759,1337,81,2529,1480,826,532,314,2647,2236,1327,1501,2351,2263],"class_list":["post-9561","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","tag-all3media-international","tag-andre-renaud","tag-armoza-formats","tag-avi-armoza","tag-banijay","tag-bbc-studios","tag-dori-media","tag-james-townley","tag-media-ranch","tag-nadav-palti","tag-nick-smith","tag-nippon-tv","tag-paramount-global-content-distribution","tag-paul-gilbert","tag-red-arrow-studios-international","tag-sophie-ferron","tag-tim-gerhartz","tag-tom-miyauchi","pmpro-has-access"],"yoast_head":"\nBack in Bloom - 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\/back-in-bloom-state-of-the-format-industry\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Back in Bloom - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"Mansha Daswani checks in with some of the format industry\u2019s leading players on what\u2019s driving the business today.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2023-03-06T13:30:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-07T16:35:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2017\/07\/BBC-STUDIOS-Dating-with-my-Mates.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\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\/back-in-bloom-state-of-the-format-industry\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/\",\"name\":\"Back in Bloom - TVFORMATS\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\"},\"datePublished\":\"2023-03-06T13:30:21+00:00\",\"dateModified\":\"2023-03-07T16:35:09+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/back-in-bloom-state-of-the-format-industry\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvformats\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Back in Bloom\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/\",\"name\":\"TVFORMATS\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvformats\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. 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