ENTERTAINMENT
GENRE REPORT
KATIE RAWCLIFFE HEAD OF ENTERTAINMENT COMMISSIONING, ITV
What’s been working for you recently? It has been a really good start to the year. We tried quite a few new things. We launched Limitless Win; it’s good to see Ant and Dec in a different space and audiences seemed to really respond to it. Masked Singer came back, and so did Saturday Night Takeaway. We also launched Starstruck, which people really responded to - it was very warm and joyous. And then BGT came back to our screens – it was clearly missed massively by the audience.
What’s your focus at the moment? Saturday nights is still a massive destination for our viewers. It’s quite unique in terms of the linear schedule - people want to consume telly in that moment. So, we need shows that are live or as live. An example of something that worked brilliantly this year was Saturday Night Takeaway, which had an item called Ring My Doorbell. It brought the viewers right into the heart of the show because it’s live, it’s unpredictable, and people watching it can play – it breaks down the walls between the studio and people at home. The Masked Singer is also a brilliant ‘talk about’ show - all generations can sit together and play the guessing game. And the humour within the panel is fantastic. The big specials that feel like a real treat are really good for us too, like An Audience with Adele. The feedback was phenomenal in terms of social and press pickup. So, we’re looking for those moments where we can drop big live or as-live events in between the juggernaut series that we have.
What are you looking for now? We would love to land the next big reality format - another I’m A Celebrity because it’s event telly and cross generational. If you can draw people in with that narrative on linear it’s very exciting. Also, what’s the next generation of talent show? We’ve tried lots of studio shows and what we have works brilliantly - but what would the next version look like?
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televisual.com Summer 2022
expensive dramas. The Circle, Is it Cake? and Love Is Blind have regularly featured in the top ten most watched shows globally on Netflix. At a time of spiralling drama budgets and when
“ENTERTAINMENT COULD BECOME REALLY IMPORTANT FOR THE STREAMERS”
JONNO RICHARDS, TALKBACK
both broadcaster revenues are under pressure and streamer spending is under scrutiny, entertainment is also the place to go for a cost-effective way to win audiences. Entertainment can appeal to a broad range
of audiences too, making them attractive to broadcasters and streamers. For many viewers, it’s also a respite from the dark storylines that characterise so many premium dramas. “Entertainment’s job is to provide escapism
and joy for people at home, and to get everyone sitting watching telly together” says Amelia Brown, managing director of Britain’s Got Talent, I Can See Your Voice and Blankety Blank producer Thames TV. Brown says that demand is high for the genre,
both from traditional broadcasters and increasingly from streamers. “All the networks are saying, ‘We want to be pitched more stuff, and we want to be pitched bigger stuff.’” Many say that big, live entertainment shows don’t
fit with the on-demand streamer model. For Brown, that’s a challenge for indies to address. “It’s our job to reinvent the traditional format to fit the SVODs…it often just takes a small twist to a traditional format to
BRITAIN’S GOT TALENT
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