UNSCRIPTED PROGRAMMING: A GOLDEN AGE OF ORIGINAL CREATIVE VS COMFORTABLE RECYCLABLES

“We need fresh blood,” “The series feels stale,” “It needs new energy.” These are some of the cliché phrases networks used with a treasured series has run its course –usually a flagship show that’s on its 4th-plus season. Seasoned producers know deep down inside that they won’t be reinventing the wheel and, most likely, nothing will change with the format. Multi-season programs maintain their audience because simply, the formula works. This is why we’re on season 33 of The Amazing Race and season 36 of Survivor. If a stable audience is tuning in, there’s no need to fix it. *

*Unless said Network’s numbers aren’t holding and it’s on the verge of cancellation, then we see gimmicks applied (‘Celebrity’ edition or an ‘Extreme’ edition is a good last gasp of breath before death)… but I digress…

With steaming services dominating the industry, any traditional ratings blimp will spook the networks. This creates a chain reaction up top of all-on-deck meetings & assessments, endless grids and focus groups. They all seamlessly seem arrive at the predictable conclusion: the show needs a renovation. A reboot, per se. New producers are often sought out to come in, replace the burned out staff and offer a fresh pair of eyes on the once a juggernaut, yet now a somehow tired show.

But the new producers brought on never have the fresh blood a network truly wants; they must have specific DNA for the type of genre they are taking over. We’ve seen it many times in the trades, Bravo only wants producers with Bravo show experience, Discovery seeks out producers who enjoy sitting in remote places on a satellite phone, and don’t even apply to SyFy unless you have connected personally with the supernatural and beyond. The irony in all of this is that producers have a talent of adapting to their project with as little a learning curve as possible. But to artistically change a show is too much of a risk as well. It’s better to play it safe unless you have a celebrity or brand name backing it up. Most shows don’t have that option and so we get an endless recycle of identical material until cancellation. Like a new plastic bottle, it’s a “New Show” but it looks identical to the previous episodes that came before it.

Before streaming television took over, an unscripted pitch was a gumbo of successful shows recycled from the past. “This is International House Hunters meets Naked and Afraid!” or “Undercover Boss meets The Bachelor” –I don’t know what either of those shows are, but they already sound intriguing –and that’s enough for a green light. Obviously, with there are some elements of risk. And there comes a show that completely feels like a reinvention on its own right, but money is not flowing into cable like it once did and those channels would rather bet safe than take the more rewarding risks. But trying to predict what an audience will gravitate to is always a hard bet. Subscription companies like Netflix are willing to swing for the fences a bit more, but when money is no object, you’re not always beholden to a “sure thing.”

That is why we’ve seen such success with Netflix’s unscripted series Love in Blind and The Circle. They are innovative and daring -especially in their casting. The Circle was a success in the UK, in fact they location used for Netflix was the UK set in Manchester, England -cut with B-Roll for Milwaukee and Chicago. So with some smart logistics, it wasn’t too much of an out-of-pocket cost to try a new market.

Love is Blind was the talk of the town while The Bachelor was written off as “boring” and “old hat.” Is it casting or is it something more? The implementation of new creative content raises new questions about the future or unscripted programs: Have we reached a point of oversaturation in our market? Are viewers more interested in trying out uncharted territory as long as the show is good? With the launching of Quibi’s new 10-minute episodes, we’re about to find out.