{"id":9209,"date":"2016-10-05T09:53:46","date_gmt":"2016-10-05T13:53:46","guid":{"rendered":"http:\/\/worldscreen.com\/tvreal\/dining-in\/"},"modified":"2016-10-06T09:23:09","modified_gmt":"2016-10-06T13:23:09","slug":"dining-in","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvreal\/dining-in\/","title":{"rendered":"Dining In"},"content":{"rendered":"

With so many food-related series on the market, producers and distributors weigh in about what a show needs to stand out.<\/em><\/p>\n

Food programming has come a long way from its instructional stand-and-stir origins. Rather than a prim homemaker demonstrating the proper way to make a super-fluffy souffl\u00e9, the food shows that are popular today feature high-tension competitions, around-the-world explorations, celebrity chefs who have achieved rock-star status and practically everything in between. And the inventive iterations just keep on coming, as the appetite for food-related series shows no signs of waning.<\/p>\n

While it\u2019s true that cooking and food have long been popular on TV, recently there has been a particular resurgence, according to Chris Knight, the president and CEO of Gusto Worldwide Media, who has authored several best-selling cookbooks and produced hundreds of hours of culinary TV content. \u201cIt has tapped into a zeitgeist,\u201d Knight says. \u201cPeople have a renewed interest in where their food comes from and how to prepare it.\u201d<\/p>\n

This programming is resonating with a new generation as well, Knight adds, noting that Gusto\u2019s shows feature \u201cyounger voices, higher production values and great music.\u201d<\/p>\n

\u201cAs of late, there\u2019s been a strong surge of interest with younger audiences,\u201d agrees Angela Neillis, the director of non-scripted for EMEA and the Asia Pacific at FremantleMedia International (FMI). Being healthy and having an active lifestyle have become more important to a younger generation, she says, and the latest crop of food series reflects that.<\/p>\n

\u201cThere are a lot of well-known personalities who are now offering healthy food shows,\u201d Neillis explains. \u201cWe have a huge amount of success with Jamie Oliver\u2019s\u00a0Jamie\u2019s Super Food<\/em>. He\u2019s gotten into healthy food and is passionate about it. He carries the viewers with him when he talks about it. That appeals to the motivation in a lot of younger audiences for healthier lifestyle choices.\u201d<\/p>\n

\u201cViewers\u2019 appetite for food programming mirrors the current focus on locally sourced food, seasonal eating and healthy lifestyles,\u201d agrees Caroline Stephenson, the senior VP for northern EMEA at all3media International.<\/p>\n

Stephenson has observed the genre\u2019s evolution away from its chop-and-chat beginnings and divides what\u2019s currently trending in the food space into two different camps. There are the \u201c\u2018how-to\u2019 shows that revel in simple food being brilliantly executed with an emphasis on excellent ingredients; and the grandstanding shows such as\u00a0Great British Menu<\/em>\u00a0that showcase the finest foods that chefs can create.\u201d<\/p>\n

Michael Lolato, the senior VP of international distribution at GRB Entertainment, says that culinary battles are also in vogue. \u201cWhat has evolved from the traditional [food] shows is the competition element,\u201d he says. Another new development, Lolato adds, is the rise of \u201cexploration elements\u2014whether it is people searching for new types of places to eat, variations of foods or exploring different cultures.\u201d<\/p>\n

These intrepid food explorers are no longer confined to their kitchens, either. \u201cToday, presenters are traveling and cooking on location,\u201d says Munia Kanna-Konsek, the head of sales at Beyond Distribution, highlighting the series\u00a0Chuck\u2019s Week Off: Mexico<\/em>. \u201cThey are joining competitions, like those seen in\u00a0BBQ Crawl<\/em>; cooking for royalty, as seen in\u00a0Cooking for the Crown<\/em>; covering feasts at assorted weddings, as seen in\u00a0I Do\u2026Let\u2019s Eat<\/em>; and rediscovering their roots and foodie passions, like in\u00a0My France with Manu<\/em>.<\/p>\n

\u201cThey are also exploring cuisines that haven\u2019t always been the most popular or common,\u201d she adds. For example, Beyond will launch season five of\u00a0Pati\u2019s Mexican Table\u00a0<\/em>at MIPCOM. \u201cAlthough extremely popular throughout the world, Mexican cuisine has, I feel, largely been neglected on screen,\u201d says Kanna-Konsek.<\/p>\n

Given the plethora of possibilities for food programming to cross over into other genres and the sheer volume of cooking-related shows on offer, the marketplace has become quite crowded. So what can make a show cut through? Star power, for one, certainly provides a boost.<\/p>\n

\u201cIt helps if you have an established brand that has other ancillary distribution such as books, a social-media presence and fans and fanatics loving and following the show,\u201d says Emilia Nuccio, the senior VP of sales at Dynamic Television. \u201cThe global appeal of the talent and the cuisine is hugely important.\u201d<\/p>\n

Dynamic Television is home to a catalog of shows featuring the veteran celebrity chef and restaurateur Lidia Bastianich, including the PBS cooking series\u00a0Lidia\u2019s Kitchen<\/em>. \u201cLidia has universal appeal because most people in the world know a grandmother who cooks,\u201d says Nuccio of Bastianich\u2019s nostalgic approach to TV food prep. \u201cI also think that Italian food is loved everywhere, and Lidia teaches you in the most loving and supportive way how to cook Italian. Lidia\u2019s show is modern and yet it speaks to the fundamental core of human beings: family, getting together, celebrating holidays, eating and enjoying as a community.\u201d<\/p>\n

TOP CHEFS<\/strong>\u00a0<\/strong>
\nFMI\u2019s roster of cooking talent includes, alongside Jamie Oliver, presenter and food writer Nigella Lawson. Neillis explains that the company works very closely with producers and talent to \u201creally max out the noise they can make in a territory. We\u2019ve got a very honed process for maximizing visibility [for brands] in a given market.\u201d As an example, she cites the simultaneous rollout of Lawson\u2019s\u00a0Simply Nigella\u00a0<\/em>series and the companion cookbook last MIPCOM.<\/p>\n

\u201cIntegrity makes the best food shows stand out from the crowd,\u201d says all3media International\u2019s Stephenson. \u201cIt\u2019s about having the right chef in the right show. Gordon Ramsay had the drive and presence to create\u00a0Kitchen Nightmares<\/em>, with his unique brand of tough love having turned around so many struggling restaurants\u2014a model he followed with\u00a0Hotel Hell<\/em>. This has been transposed by casting similar passionate characters in local versions. Equally, Heston Blumenthal really is the only chef to create the fabulous and fantastical menus in three seasons of\u00a0Heston\u2019s Feasts<\/em>.\u201d<\/p>\n

Others argue that there doesn\u2019t necessarily need to be a hotshot celebrity chef commanding the kitchen for a series to resonate; the host just needs to be someone viewers can relate to.<\/p>\n

\u201cTo engage the audience, authenticity is important,\u201d says Tony Iffland, the general manager for ABC Content Sales at ABC Commercial. \u201cIt\u2019s not about having a \u2018food actor,\u2019 but having a real person who is authentic without being pompous or condescending.\u201d<\/p>\n

Iffland says that this is also a good way to open the genre to viewers who are new to the cooking space. \u201cFood can be pretty scary for people who are average everyday cooks for their family and just want to prepare something a little better, in a more interesting way or make sure they have the nutrition right. It can be quite daunting for people to approach that. It\u2019s important to have a host who\u2019s welcoming, engaging, brings you in and takes away some of that fear of not knowing how to do it.\u201d<\/p>\n

Often, having a charismatic host is what gives a food show its flavor\u2014whether it be a well-known personality, a highly regarded professional with a long list of culinary credits or a less experienced but passionate presenter who\u2019s just downright relatable. Hayden Quinn, for example, didn\u2019t have the background of working in a five-star restaurant when he first appeared on TV; he got his start as a contestant on\u00a0MasterChef Australia<\/em>. \u201cHis personality is just so endearing that now everybody is in love with him,\u201d says Lolato at GRB, which represents\u00a0Hayden Quinn South Africa<\/em>. \u201cOn the flip side, we\u2019ve had\u00a0BBQ Pitmasters\u00a0<\/em>now for six seasons. Myron Mixon, who is the head judge, is an expert. He\u2019s become so popular that he got spun-off with one of our new shows,\u00a0BBQ Rules<\/em>, which is more instructional barbecue versus the competition [angle of\u00a0Pitmasters<\/em>]. The expert element in that one paid off.\u201d<\/p>\n

Twofour Rights, meanwhile, supplies a number of shows that have no hosts at all, among them\u00a0World\u2019s Best Restaurants<\/em>. This recipe has even helped the series to achieve a wider breadth of sales, according to Anthony Appell, the director of Twofour Rights.<\/p>\n

\u201cWe don\u2019t like to put the light on a presenter; the stories should speak for themselves, and the food should speak for itself,\u201d he says. \u201cInternationally, taking the host out works much better for us. The individual broadcasters can top and tail the show with their own host perhaps, or can keep it as is.\u201d<\/p>\n

One of the company\u2019s most popular food-centric series is\u00a0Choccywoccydoodah<\/em>, set within a shop that creates custom cakes. \u201cIt isn\u2019t about one person; it\u2019s about how, as a team, this group comes to build a cake or meets a deadline,\u201d Appell explains. \u201cIt has suspense in it and quirkiness. [Our shows] are meant to be about a journey rather than about a presenter.\u201d<\/p>\n

FAMILY GATHERINGS<\/strong>\u00a0<\/strong>
\nIn much the same way that families come together at the dinner table for a night\u2019s meal, food series have the ability to get everyone in the household to gather around the TV set, Appell says. \u201cIt\u2019s a genre that\u2019s come back in fashion because anyone in the family can relate to it\u2014it doesn\u2019t matter if you\u2019re young or old. Parents are watching these shows with their kids.\u201d<\/p>\n

Appell says that there\u2019s even an eye on making more shows that cater to the younger and older ends of the demographic spectrum. \u201cMasterChef Junior\u00a0<\/em>does really well, maybe even better than the adult version in some territories,\u201d he notes. \u201cIs there something else we can do around fabulously talented kids? Also, what about the older generation? There hasn\u2019t been a type of show that relates to them and their recipes and traditions. There\u2019s a lot more we can do in the food genre with kids and the older generation equally.\u201d<\/p>\n

Indeed, food shows can have cross-generational appeal, and many are equally alluring across genders. \u201cFood preparation and the enjoyment of food is classless and appeals to both men and women,\u201d says Beyond\u2019s Kanna-Konsek. \u201cI think the trend toward competitive cookery shows brings out the opportunity for more family-orientated viewing, too.\u201d<\/p>\n

Stephenson of all3media International echoes this sentiment. \u201cOur broadcasters tell us that the majority of our food shows appeal to both men and women, especially competition series such as\u00a0Worst Cooks in America<\/em>and\u00a0Great British Menu<\/em>, and shows such as\u00a0Kitchen Nightmares<\/em>,\u00a0Heston\u2019s Feasts<\/em>\u00a0and\u00a0Gok Cooks Chinese<\/em>. The chef world is predominantly a male environment and thanks to a wide range of high-profile male food talent, men are cooking at home more than ever.\u201d<\/p>\n

The wide audience reach is but one of many reasons that cooking and food series are popular with broadcasters, Stephenson adds. \u201cFood shows led by strong, noisy talent build an audience following very quickly, and non-sequential series offer a quick scheduling solution and a potentially enhanced ROI for broadcasters. Equally, competition series create a following and often build on-demand appetite with viewers desperate to know what happens next.\u201d<\/p>\n

Given their ability to garner loyal viewers, many food shows go on to become long-running franchises that return to a broadcaster either with new seasons or spin-offs. \u201cThe majority of our food-programming titles are in their second or third seasons,\u201d says Beyond\u2019s Kanna-Konsek. \u201cThese series offer additional security for buyers who want to ensure they are acquiring successful shows and the additional benefit of having more series content available.\u201d<\/p>\n

They also provide a nice amount of scheduling flexibility for broadcasters and can work across a variety of slots. \u201cThe advantage of food shows is that they can be played any time of day,\u201d says GRB\u2019s Lolato. \u201cIt\u2019s general entertainment and safe for the family\u2014there\u2019s no violence, death, sex. These shows can be for daytime, prime time when they\u2019re brand new or weekend fare.<\/p>\n

\u201cThe other beauty of it is that they\u2019re self-contained, so you can dip in to watch a show and not have to have seen the episode before it,\u201d he adds. That\u2019s another scheduling bonus for the broadcasters.<\/p>\n

HUNGRY FOR MORE<\/strong>\u00a0<\/strong>
\nNot only does this genre play well across various dayparts, the sales potential spans nearly all types of channels. Food series can be seen on large general-entertainment broadcasters and niche lifestyle networks alike\u2014and certain brands may make their way onto both.<\/p>\n

FMI, for example, has nurtured the Jamie Oliver franchise with a targeted windowing strategy. \u201cIn all the territories we\u2019ve taken his shows into, we\u2019ve worked with a combination of channels and slots to really maximize the visibility,\u201d says Neillis. In Australia, Oliver\u2019s shows air on commercial broadcaster Network Ten in prime time, then in another window will be on pay-TV platform Foxtel in a slot generally reserved for lifestyle fare.<\/p>\n

\u201cThe only thing I don\u2019t see happening is selling food programs to the big public broadcasters; they have their own,\u201d says GRB\u2019s Lolato.<\/p>\n

He adds that sales to VOD and digital services are \u201cdefinitely gaining.\u201d Digital platforms are \u201cno longer the tiny little cousin sitting at the big kids\u2019 table; they\u2019re starting to buy across all genres, including food.\u201d<\/p>\n

In his experience with pitching food programming to digital on-demand platforms, Twofour\u2019s Appell has found that these services often want a strong central celebrity to be involved in the show. \u201cThey need it to be relatable either with an American host who people know or they want it to be about everyday food items like hamburgers and hotdogs. It\u2019s not what Twofour does.\u201d<\/p>\n

Where Twofour\u2019s content has taken off is with in-flight deals. \u201cWhenever we have a new food show, nine times out of ten it ends up on British Airways or Virgin because they are relatable series for passengers,\u201d says Appell. \u201cAlso, they\u2019re quite high-end. We\u2019re transporting viewers into a different world and behind the scenes of fabulous restaurants.\u201d<\/p>\n

Something all broadcasters like nowadays is getting a full digital package to support a program for 360-degree exploitation. Cooking series lend themselves to this quite naturally. \u201cOur series have original webisodes, all the recipes, high-resolution art\u2014when we sell our shows we sell the entire package,\u201d says Gusto\u2019s Knight, adding that the company\u2019s food brands are designed to live in a multiplatform environment. \u201cThat\u2019s an extremely powerful way to grow your viewer loyalty, through pushing out additional original content. For instance,\u00a0One World Kitchen\u00a0<\/em>has 30 episodes, but it has 110 webisodes. It has 200 recipes, each with high-res art. It\u2019s a full package for consumption on multiple platforms.\u201d<\/p>\n

And viewers are certainly ready to engage with their favorite cooking shows and culinary personalities in a variety of ways that extend far beyond the TV screen.<\/p>\n

\u201cSocial media has become very important,\u201d says Dynamic\u2019s Nuccio, noting the volume of followers Bastianich has amassed across Facebook, Twitter and Instagram. \u201cAncillary products are also very important. Lidia has ten or more cookbooks out there that are a huge success. Today, without social media you\u2019re missing a key piece of the equation.\u201d<\/p>\n

FMI\u2019s Neillis agrees that social media has become an important asset for food-related franchises. \u201cIt amplifies the brand,\u201d she says. \u201cWe\u2019re working with a new talent, Silvia Colloca. She started as a blogger, then that blog became a book, then that book became a series. She also has a Twitter and an Instagram account.\u201d<\/p>\n

DIGITAL SNACKS\u00a0<\/strong>
\nInstagram is a particular favorite among the culinary crowds, as its picture-based platform can showcase dishes in a purely visual form. Nigella Lawson has around 806,000 followers, and counting, on her Instagram, and Jamie Oliver a whopping 4.9 million.<\/p>\n

\u201cIf you like Jamie Oliver, you [can engage with his brands] on YouTube, Facebook, Instagram, Twitter\u2014what a noise it\u2019s all making!\u201d Neillis says. \u201cIt really does make the brands bigger. It creates a two-way engagement so you have audiences who feel connected to the talent, and the talent can talk directly to the audiences.\u201d<\/p>\n

Following on the success that FMI has had with its existing food brands and personalities, including the bearded duo known as the Hairy Bikers, Neillis says the company is actively scouting for fresh talents. \u201cWe\u2019re looking to make even more relationships with brands. We are always on the lookout for new talent and shows to complement the success of the ones that we already have.\u201d<\/p>\n

And she\u2019s not the only one feeling confident about the ever-increasing appetite for food shows. \u201cBecause it\u2019s such an important part of our society, we\u2019re always going to have food programming,\u201d asserts ABC Commercial\u2019s Iffland. \u201cThere are endless ways to look at food. As we grow and evolve as a society, food will move along with that. Those changes will be reflected in our programming.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

With so many food-related series on the market, producers and distributors weigh in about what a show needs to stand out.<\/p>\n","protected":false},"author":350,"featured_media":9210,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[],"class_list":["post-9209","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nDining In - TVREAL<\/title>\n<meta name=\"description\" content=\"With so many food-related series on the market, producers and distributors weigh in about what a show needs to stand out.\" \/>\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\/tvreal\/dining-in\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dining In - 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