GENRE REPORT
ENTERTAINMENT
presents a conundrum. “Streamers are struggling to work out how they do traditional entertainment,” says McLean. “Certainly, studio performance shows like Strictly and The Masked Singer.” They have scored with dating shows and competition formats, Amazon Prime format Laugh is in 18 territories, Netflix has The Floor is Lava. But big shiny floor isn’t high on the agenda. Of course, live shows don’t fit naturally
with on-demand. Netflix has streamed comedy live and streamed its first global event, a Chris Rock stand up special, earlier this year. Disney moved Dancing with the Stars to Disney+ last year, but it will also be back on ABC for live shows in 2023. “It doesn’t feel like they are going to commission live shows for the sake of live,” says Townley at Banijay. “But you could have the option to have a big live final that drives everyone into that particular moment.” Traditional broadcasters are driving
audiences from linear to streaming with big entertainment brands. Both the BBC and ITV have invested in familiar, legacy formats, with the imminent arrival of Deal or No Deal and Big Brother on ITV and Survivor and Gladiator on the BBC. “I don’t think reboots are necessarily a new
thing,” says the BBC’s head of Entertainment commissioning, Kalpna Patel- Knight. She points to traces of Noel’s House Party in Saturday Night Takeaway and 1950s hit Come Dancing in Strictly. “It’s all about looking at formats and indeed beats that we know have worked previously and bringing them to 21st century audiences in a refreshed and, most importantly, relevant way.” The Traitors is the format on everyone’s
lips in 2023. Patel-Knight describes “a newly found appetite within the industry and indeed viewers for psychological reality competitions with a unique – and sometimes dark – edge. Formats that successfully combine entertainment and drama in equal measure.”
KEEP IT REAL At Bandicoot, McLean is struck by the large
dollop of real world in so many successful current formats. “Entertainment has stolen lots of factual skills and traits to make themselves pop,” he says. “When I look at entertainment this year, I think some of the best shows haven’t necessarily come from a natural entertainment background.” He cites The 1% Club, commissioned by ITV’s Factual Entertainment department and the current affairs, campaigning slant of Channel 4’s Joe
KALPNA PATEL- KNIGHT, HEAD OF ENTERTAINMENT COMMISSIONING, BBC
What’s been working for you recently? We’re fortunate to have many much- loved shows on our slate like Strictly Come Dancing, Michael McIntyre’s Big Show and The Apprentice, plus titles that are fast becoming Saturday night favourites such as The Hit List and The Wheel. We’re proud to have recently successfully delivered the Eurovision Song Contest on behalf of Ukraine and we are thrilled with the buzz that was generated by the first run of the BAFTA and RTS award winning series The Traitors. All in all, it’s an exciting time in Entertainment at the BBC right now. What’s your focus at the moment? Our aim is for the BBC to become the UK’s ultimate destination for entertainment, whether it’s serving reality realness on RuPaul’s Drag Race UK or probing pet peeves in The Chris and Rosie Ramsay Show. The return of Gladiators is filming in Sheffield, plus filming is also about to start soon on the physical and psychological gameshow, Survivor UK. These are two big ticket shows that we know audiences are excited to see, so our focus right now is on delivering these new series whilst nurturing our much-loved returners and of course working with our UK suppliers to develop bold, new ideas to find the next Strictly Come Dancing and Traitors. What are you looking for now? We’re always open to new ideas. Following the success of a similar initiative two years ago we are once again joining forces with colleagues in Daytime to find fresh and modern quiz and gameshow formats for BBC One and iPlayer for Saturday early evenings and Daytime afternoons. We’re aiming to fund up to two show pilots that will appeal to the broadest possible audience that have the potential to grow into returners for both Daytime and Peak, similar to our recent success with Bridge of Lies.
Summer 2023
televisual.com 51
I’M A CELEBRITY: SOUTH AFRICA
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112
