K7 World Entertainment & Reality Report January 2019
Your monthly selection of interesting entertainment and reality titles from around the world.
Flirty Dancing Produced by Second Star
K7.Media K7 World Entertainment & Reality Report January 2019
CONTENTS
Introduction 2 New Year, New You: Three Directions In… Health & Wellness 3 Personal Transformation 3 Mass Health-Fix Experiments 4 Group Therapy 5 Premieres At a Glance 6 New Year, New Old: Two Directions In… Brand (Re)Building 7 Spin-offs and Extensions 7 Tweaked Revivals 10 Premieres At a Glance 14 New Year, New Moves: Three Directions In… Song and Dance 16 The Show Must Go On 16 I Sang It My Way 18 Making It Pay 19 Premieres At a Glance 21 K7 World Entertainment & Reality Report January 2019
Introduction
The eagle-eyed amongst you will have noticed the pause in World Entertainment and Reality Reports over the festive period, which makes this an overview covering both the end of 2018 and the start of 2019. Here at K7 our end of year summarising took shape in the form of our latest Tracking the Giants: The Top 100 Travelling TV Formats report - an invaluable snapshot of what shows are REALLY selling and setting trends around the world. Confirming which way the wind is blowing with proper data is always satisfying, and news that the Format Buzzwords of the Last Three Years were 'Dating', 'Generations' and 'Physical' will come as no surprise to many. What's just as interesting is to note which genres and areas are seemingly in decline - but more likely just waiting for a new twist, or approach to reinvigorate them. Reality contests are one such area, but will the launch of Keshet's ambitious 2025 at the start of February herald a new era in Big Brother-style series? Watch this space... And there are signs that 2019 might see an increasing interest in formatting or gamifying social issues and reality experiment subjects, in new genre mash-ups, with shows like France 2's Au Cœur des Eléments (Tr. At the Heart of the Elements, Tuesday 11 December), in which host Olivier Minne is trapped inside a house subjected to special-effects-generated climatic forces in a kind of environmental 'escape room' game; BBC3's Is This Sexual Harassment? play-along drama/ discussion hybrid; and Het Uur Van De Waarheid (Tr. The Hour of Truth, 6 December, NPO1) which had contestants taking part in a studio quiz after 24 hours without sleep, and a neuropsychologist on hand to explain what sleep deprivation does to the brain. So, signs of plenty of original thinking still, but appropriately our three main themes, as one year ends and another begins, are in areas which come round as regularly as clockwork in the TV schedules, and require the efforts of the finest brains in the industry to keep them annually refreshed. The makeover genre may be in decline according to the evidence of Tracking the Giants, but in January the thirst for some sort of New Year, New You programming peaks nonetheless. There are notably fewer traditional ‘diet’ shows this time round, as viewers become savvier and more cynical about weight-loss promises, but plenty about other kinds of personal transformation, along with some larger-scale health experiments, and a raft of series employing the collective 'wisdom of the crowd' to effect mental, physical or social change. Despite plenty of appetite for fresh formats, it's inevitable that 2019 will also see no let-up in the reviving and stretching of familiar brands, just as in 2018. Our New Year, New Old section looks at some of the latest spin-offs, cross-platform extensions and reboots coming our way. And lastly, in New Year, New Moves we cover some of the old and new takes on the most robust genres of all, singing and dancing - including a look at the trend for mid-performance emotional reveals.
The K7 World Entertainment and Reality Report is compiled by K7's non-executive director Clare Thompson
*Tr. denotes K7’s literal translation of the original title into English.
K7.Media 2 of 21 K7 World Entertainment & Reality Report January 2019 New Year, New You: Three Directions In… Health & Wellness
Apologies for taking on the obvious genre at this time of year - there really is no escaping it - but at least there are some interesting new twists and directions other than straight diet shows emerging. Personal Transformation The most attention-grabbing way to get audiences interested in a weight-loss or transformation mission is of course to get famous faces to own up to their flab and take on a challenge. ITV's forthcoming Match Fit does just that, as a team of gone-to-pot star footballers from the 80's and 90's set themselves the task of getting back in shape to play a team of Match Fit - ITV international 90s rivals. There are some great bookings in here - including England legends like John Barnes, David Seaman and Chris Waddle - but the real casting blessing for ITV is newly-crowned King of the (I'm a Celebrity) Jungle Harry Redknapp as team manager. Hopes will be high that the combination of much-loved, unreconstructed male icons from the past, the jeopardy of the pay-off, and some gentle health and diet advice along the way, will all combine to create a piece of entertaining telly with added benefits for its (presumably male, older) audience. Interesting too to note the inclusion of Neil 'Razor' Ruddock, who fronted his own, similar (and very enjoyable) series Football Saved My Life for Bravo back in 2006 - in that case forming a team of blokes struggling with varied mental and physical health issues to change their ways through the power of football. But increasingly there is considerable airtime being given to shows which encourage us to more seriously consider the impact of transforming our bodies - and whether it is always the right thing to do. Tapping in to audiences' growing interest in seeing the raw, unvarnished truth of surgical procedures, as they happen (Channel 5's Operation Live is one example now picked up for a two-part local version for Seven Network Australia), BBC3 is taking on the reality of cosmetic surgery, in Surgery on Show. In the six-part series seven young people considering going under the knife are taken into an operating theatre to watch a live plastic surgery procedure. Afterwards, they debate the pros and cons of plastic surgery with their family and friends, before revealing whether their decision has changed. Funded by the online channel’s new £10m factual entertainment pot, this is one of several recent shows BBC3 have commissioned to address body image issues amongst a young audience understandably preoccupied with physical perfection. Following on from a successful pilot focusing on obesity in April 2018, a four further 10' episodes of The Naked Truth launched on the platform this month, with participants speaking candidly about a particular body issue subject - loose skin, tattoos, male body image, missing limbs - whilst completely naked. The personal testimonies are brave, quite literally exposing, and of course social media catnip as - in the obesity pilot particularly - the audience debate the aesthetics and implications of what is on display.
K7.Media 3 of 21 K7 World Entertainment & Reality Report January 2019 This month Banijay-backed indie 7 Wonder have also been casting for another body positive series for BBC3, appealing for "people who feel like something is holding them back from being active and would like 2019 to be 'their year'". More info on that one as it develops, but meanwhile the channel have announced Strictly Come Dancing champion Stacey Dooley as the host of its upcoming 8-part competitive makeover series Glow Up. Alongside her, Val Garland, Global Make-Up Director for L’Oréal Paris, and Dominic Skinner, Global Senior Artist for MAC, have been unveiled as judges of the 10 talented make-up artists being put to the test in creative challenges. Previously best known for fronting hard-hitting documentary series (including several on the dark side of the fashion industry), Stacey is a smart choice to lend credibility to a show inevitably very much about beauty and image. The co-existence of both these types of series on the channel perfectly sums up the schizophrenic attitude to personal appearance its young audience faces - and the tricky balance a PSB like the BBC has to strike as it tries to compete with YouTube whilst upholding its values.
Mass Health-Fix Experiments Alongside these more personal transformations are some bigger scale New Year experiments, attempting to tackle health issues amongst the population at large. BBC2's The Twinstitute took the classic nature vs nurture as its starting point, as twin doctor hosts Chris and Xand van Tulleken (hugely popular with the 6-9 yr old crowd thanks to the brilliant Operation Ouch!) took on a series of health and diet experiments using 30 pairs of identical twins to test the alternatives. Questions addressed included how to lose weight, The Twinstitute - BBC2 improve memory and beat both pain and nausea without pills, whether moderate exercise or HIIT is more effective for weight-loss, plus the effects of smartphone use on IQ. It’s a simple but effective gimmick that the production really went to town on (twin bouncers and receptionists in matching uniforms at the Twinstitute) - light-hearted pop science TV that the van Tullekens deliver expertly, if not always the most rigorous in its findings. The pair are next set to tackle teen mental health and alcoholism in a 3 part series - Dr Chris & Dr Xand Investigate - for the BBC’s iPlayer. And in the next few months TV will also be utilising two of its favourite genres in the service of another health issue - dementia - as older participants enter the spotlight once again. Channel 4’s The Restaurant That Makes Mistakes sets out to prove that giving those with the condition the opportunity to feel useful in employment can be hugely beneficial, as a group of sufferers work front of house in a fixed-rigged pop-up restaurant in Bristol. As we’ve reported before, the format was inspired by a real-life experiment in a restaurant in Tokyo last year, which separately gave rise to a similar Korean format from KBS Media entitled Oops I Forgot Your Order, now also under option in China. While the purpose behind both shows is laudable, there’s no escaping the fact that forgetful waiters and waitresses also lend some comic appeal - Channel 4 are past masters at managing to walk the line on TV-friendly conditions like this, be it autism, Tourettes or dementia, so expect it to
K7.Media 4 of 21 K7 World Entertainment & Reality Report January 2019 be moving, informative and entertaining in equal measure, especially with the team from CPL’s Old People’s Home for Four Year Olds behind it. Meanwhile BBC1 will also have Vicky McClure: My Dementia Choir, in which the Line of Duty actress sets out to explore the benefits of music therapy on the condition, inevitably bringing her own personal experience with her grandmother’s dementia to her mission to get a group of sufferers to perform together.
Group Therapy Lastly in this section are the shows which use group therapy, the wisdom of the crowd, or peer-to-peer help to enable participants to make meaningful changes in their lives. Perhaps the perception that makeover or transformation shows appear to be in decline is due in part to the fact that in many territories we are seeing a move away from classic expert-led interventions, in favour of these collective, peer-influencer approaches to addressing personal issues, particularly in the UK, Netherlands and Scandinavia. In Sweden those generational personal image issues are under the microscope again on SVT1 in Mitt Perfekta Liv (Tr. My Perfect Life), which takes a look behind the perfect facade of four successful bloggers from the social media generation. Over the course of six weeks, they meet for group discussions with psychotherapist Poul Perris for an honest, emotional conversation about the negative side of success, and what life is really like behind the Instagram filters. With increasing numbers of bloggers going public with the mental health pressures their exposure has brought them, expect to see lots more shows taking a similar path. A 10pm weekly show on the main channel, it was also released in its 6-part entirety on SVT Play Mitt perfekta liv - SVT1 the same day. Meanwhile in Belgium, empathetic Radio Gaga host Joris Hessels has a new show on Canvas - De Weekenden - in which he oversees a group of nine strangers who get together for one weekend a month over the course of a year to discuss a big change or crossroads moment each is facing. Participants include a refugee, a retiree, and someone suffering early onset dementia. Whilst not as grabby a concept as the highly formatted version of this idea - The Audience - that Channel 4 attempted back in 2012 (fifty strangers follow a contributor around to advise them on big life decisions ), ultimately perhaps these looser, more true-to-life, group therapy takes on the ‘wisdom of the crowd’ concept work better - until or unless someone comes up with a clever new approach. And on an even bigger scale, practical, life-saving crowd assistance is being sought in noisy new NPO1 show Je Geld of Mijn Leven (Tr. Your Money or my Life), which had four patients attempting to raise money for treatments, therapies and operations via crowdfunding. To ratchet up the jeopardy, this is the last hope for each of them, as their treatment is not covered via health insurance, so viewers are also encouraged to donate to the cause. A follow up will be broadcast next year catching up with the participants (ratings, audience response and medical success permitting…).
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Premieres At a Glance
Match Fit (ITV, UK) produced by Talkback, distributed by Fremantle - first tx March 2019 Surgery on Show (BBC3, UK) produced by Gobstopper TV - first tx later in 2019 TBC The Naked Truth (BBC3, UK) produced by Parable - first available Thursday 10 January 2019 Glow Up (BBC3, UK) produced by Wall to Wall, distributed by WBITVP - first available later in 2019 TBC The Twinstitute (BBC2, UK) produced by Wall to Wall, distributed by WBITVP - first tx Wednesday 2 January 2019 The Restaurant That Makes Mistakes (Channel 4, UK) produced by CPL Productions, distributed by Red Arrow - first tx TBC Vicky McClure: My Dementia Choir (BBC1, UK) produced by Curve Media - first tx TBC Mitt Perfekta Liv (Tr. My Perfect Life, SVT1 and SVT Play, Sweden) produced by SVT - first tx Sunday 13 January 2019 De Weekenden (Canvas, Belgium) produced by De Chinezen - first tx Wednesday 12 December 2018 Je Geld of Mijn Leven (Tr. Your Money or My Life, NPO1, NL) produced by Vincent TV Producties - first tx Tuesday 12 December 2018
K7.Media 6 of 21 K7 World Entertainment & Reality Report January 2019 New Year, New Old: Two Directions In… Brand (Re)Building
Alongside all the fresh starts and new ideas, every New Year also sees plenty of continuity of the familiar - and as we know, building on existing success with a slight twist, brand extension or reboot is the TV industry’s current go-to shortcut for audience attention. Stretching and maximising the value around existing brands can also be a far better route to a guaranteed ROI than a new launch. Here’s a round-up of some of the many examples around over this period, and upcoming. Spin-offs and Extensions The Christmas schedules were of course packed full of festive editions of everyone’s favourite shows (although comedian Romesh Ranganathan probably punctured the illusion of these best as he moaned to his producer about having to wear a Christmas jumper throughout his Canadian Arctic-set The Misadventures of Romesh Ranganathan: Christmas Special - clearly filmed months ago). With travel shows packing the schedules in many territories, throwing in destinations with a little snow is the simplest way to bring a seasonal twist to an existing format - and some feel-good or charitable aspect is better still. In Belgium VRT experimented with an on-line spin-off of their successful Downs Syndrome travel show Down the Road - building a buddy road-trip between host Dieter Coppens and one of the participants, Kevin, into a week-long fundraising event on the channel, billed as De Warmste Week (Tr. The Warmest Week). In Down the Snow the pair took a seven-day trip across Europe, starting in wintry Finland and ending their journey in Belgium; with viewers able to follow their adventure via Eén's website, and social media channels, and text in to help them raise money for their chosen charities (Down Syndrome Flanders and Down the Snow - VRT cancer charity Kom op tegen Kanker). Ahead of a new series in January, Ellen DeGeneres meanwhile rounded off the year with a festive edition of her highly successful Ellen’s Game of Games (Ellen’s Game of Games: Holiday Spectacular), with extra chocolate and cranberry goop, plus goofy reindeer costumes to add in to the usual wacky audience games and challenges. Despite seeming very much built around the talents of its charismatic host, the format has nonetheless sold to Germany (Sat.1), Australia (Network Ten) and Spain (Antena 3), proving the solid appeal of its overall format and compendium of games. The new season opener won Tuesday night for NBC once again, with 6.5 million total viewers and a 1.5 in the key demo, and a third season recommission has just been confirmed. Ironically the series is of course a spin-off itself - supersizing many of its games from her daytime talk show - and she is continuing to build the brand still further with the recent announcement of a long-term cross-promotional partnership with Spotify, to include DeGeneres-curated music playlists, podcasts, and video clips from the show. When you have a talent of Ellen’s standing, spinning off her brand and presence into as many day-parts
K7.Media 7 of 21 K7 World Entertainment & Reality Report January 2019 and platforms as possible is a no-brainer, but her producers have been smart in devising a saleable TV gameshow format which can also work just as well without her - a trick Ant and Dec’s Saturday Night Takeaway famously struggled with over the years. This month US viewers also finally got to give their verdict on America’s Got Talent; Champion of Champions - a long-awaited event (scheduled weekly) pitting the winners from multiple series and territories against each other. With all four judges from the main series (Simon Cowell, Mel B, Heidi Klum and Howie Mandel) and all the big-name winners you’d hope for taking part, NBC’s investment paid off - with 9.9 million total viewers and a 1.8 rating for its Monday night debut. Paul Potts topped the public vote to earn his place in the final, while Susan Boyle was always going to be in there, thanks to an emotional Golden Buzzer moment from Mel B in the opening episode. Despite much trumpeting of the international roster of talent, the domestic acts were certainly given a numerical advantage, with 21 out of the 30 acts seen so far coming from America’s Got Talent. With 50 acts performing in total, there are still a few favourites still to come, but the decisions as to who will make it through to the Final are split between the judges’ and host’s five Golden Buzzer acts, and five more chosen by a group of Superfans - delegates from each of the 50 states. Fremantle took its time to come round to the idea of this off-season brand extension, thanks to the long shadow of the ill-fated World Idol back in 2003. Times have changed, however, and thanks to YouTube and social media there is far more interest in, and profile for, those acts from other territories than there may have been then. Used sparingly, these globally- sourced event specials do potentially have the power to supercharge a programme brand and a channel schedule – perhaps just as long as the domestic acts do retain that home advantage. Unfortunately for NBC - and Fremantle - it’s not a trick that can be repeated too often. See you in 2029 for the next instalment… Easier to repeat and sell-on internationally, last month also saw the first outing for The Voice Seniors spin-off in Belgium, with the over-60’s competing for a €10,000 prize on VTM. Climaxing on the 28th December with 915,498 viewers, easily winning the slot, it’s another warm, feel-good brand extension that feels particularly suited to this time of year, and works ok for a talent brand that has The Voice Seniors - VTM always been a bit more about the TV experience than building long-term popstar careers. The Voice Senior has to date sold to six territories in total, but has a long way to go to match The Voice Kids - winner of our Most Popular Spin-Off Series award in the 2018-19 K7 Media Tracking the Giants report, with 37 countries picking it up. In the UK, another show to age up its contributor pool for a spin-off has been Big Star’s Little Star, which morphed into Big Star’s Bigger Star over the Christmas period, with the parents - rather than children - of celebrities divulging funny and embarrassing stories from their offspring's childhood. Over four rounds, they are quizzed on what their children were really like growing up, before the celebrities try to work out which anecdote has been revealed. The winning pair received the chance to play for up to £15,000 for a charity of their choice. Despite having been in the works for some time, when the 4x30’ series finally launched in a 5.30 Saturday tea-time slot it was to modest ratings - 2.22m viewers and a
K7.Media 8 of 21 K7 World Entertainment & Reality Report January 2019 13.31% share (slot average 17.91%), skewing towards younger viewers but perhaps suggesting that this one really needs kid input to shine. Staying with ITV, popular daytime gameshow The Chase is also applying AGT’s champion of champions model, in one of two spin-offs it is reportedly currently developing to keep its loyal audience happy. That one would see a collection of quiz champions going up against each other (with Madeline Grant from Mastermind, University Challenge’s Bobby Seagull, and The Chase’s own Shaun Wallace thought to be involved), while another proposed brand extension, Beat the Chaser, will boast an Egghead-style mechanic, with contestants choosing which Chaser to face on each subject. If one answer to brand extension is to broaden the contestant pool - via age, celebrity or non etc - then another is of course to switch the arena of the show, whilst retaining the same structural mechanic. BBC2’s historical reality Back in Time for… franchise has moved through Dinner, Tea, Christmas, The Weekend, The Factory, and now this month School, as it immerses a family or group of participants in a whistle-stop tour through the decades of a particular realm of life. In this latest series 15 modern-day students and three teachers are taken back in time to experience school life from the Victorian era, right through to the 1990’s, in order to find out how the education system has changed, experiencing everything from authentic school dinners and strict punishment regimes to musket training and lessons on the virtues of colonialism. Fittingly described by The Guardian as “a format with never-ending potential for resurrection”, there are indeed plenty of fascinating and pertinent realms left to explore, but it is also the clarity of the decade-by-decade structure, and the by-now highly experienced casting and production team that make this show so robust in whatever arena it takes on - reliably entertaining and informative in equal measure, and with something of interest for every generation. The opening episode of this series launched with 2 million viewers /9% share - fewer than last winter’s Back In Time For Tea (2.5 million/13% on 6 February 2018) but more than autumn’s Back In Time For The Factory (1.4 million/ 8% on 6 September) - suggesting that it is perhaps at its strongest when it tackles subjects of appeal to its younger fanbase. In the US, Discovery have been experimenting with a number of crossover, companion pieces that can draw viewers from one sphere (and channel) to another - signalling its ambitions to make full use of the Scripps cable networks it acquired earlier this year. Firm TLC favourite Say Yes to the Dress - following brides searching for their dream wedding gown - has now spawned a home search show Say Yes to the Nest for HGTV, in which newlywed couples get help finding and purchasing their first home Say Yes to the Nest - HGTV together. Obviously there is the potential to follow some of the same characters, but also to draw the audience across with a familiar structure and tone. The new series was trailed with a teaser on TLC the night of the new season launch of Say Yes to the Dress (Saturday 5 January), with the full 6-episode series coming to HGTV in March. Back in October Discovery
K7.Media 9 of 21 K7 World Entertainment & Reality Report January 2019 announced plans to revive home makeover series While You Were Out with a similar crossover trick - creating separate episodes of the designer reality contest tailored for HGTV and TLC audiences, and airing simultaneously as part of a concerted cross-channel push to build and market programming around common threads, themes and brands. Financially it’s a smart way to make some savings across such a wide channel group, but also to gather marketing spend and audiences around familiar brands and sub-brands. In a further example of their cross- platform brand extension strategy, last month also saw the launch of their digital video series Building Brady - a series of weekly behind-the-scenes instalments on HGTV.com following ‘special moments between the Brady TV siblings’ as they work on the renovation of the famous Brady Bunch house for its full series, A Building Brady - HGTV Very Brady Renovation, due on the main channel in September 2019. The series also has a dedicated Facebook Watch page and will temporarily take over HGTV’s Instagram Stories, where fans can get involved in the rebuild. HGTV purchased the famous house for 2 million dollars back in August 2018, after a much-publicised bidding war with NSYNC singer Lance Bass. Using the house as a way to create a hybrid home-renovation-meets-TV-nostalgia- meets- celebrity-reunion-show is a neat trick, and it’s no wonder HGTV are wanting to maximise their investment with digital spin-offs of cable renovation spin-offs of a favourite 70s sitcom brand. It’s the perfect cross-platform/ brand extension / revival model for our times. Tweaked Revivals On the subject of revivals there are of course plenty more of these to kick off the New Year, with news of others being announced weekly. While it’s clear why familiar brands are being revisited, in the interests of attracting the attention of audiences in such a crowded landscape, it is also not without risk - particularly if producers and broadcasters attempt to move with the times, but somehow miss the mark with a new audience who has no fond memory of the original. In Germany, RTL2’s The Dome was something of a phenomenon for much of the 15 years it was originally on air (1997-2012) - a major performance event staged roughly every three months, in a different event hall in different cities across Germany and Austria, with national and international artists performing their recent songs in front of a crowd of 5000-15,000 people. With a compilation album previously released alongside every event, in theory it should have been an opportunity to reinvent a great, multi-platform piece of event programming. The ambition was to do just that, for a new young audience, with a 6 hour Friday live stream of the show online, followed by a 2 hour TV broadcast on the Saturday. YouTubers and Instagrammers were brought in - including 16 year old superstar-influencer twin hosts Lisa and Lena - to make this ‘a show for the social media generation’, not a retro return to the past. But despite its previous popularity it perhaps fell between the two stools of appealing not quite enough to that younger generation, nor quite enough to its previous fanbase - only
K7.Media 10 of 21 K7 World Entertainment & Reality Report January 2019 380,000 viewers (A3+) tuned in to watch the revived show, receiving a total 9.6% share. The target group share was also quite weak, at 4.2% (A14-49). For broadcasters who’ve become reliant on a heritage brand like this, the dilemma is often whether to keep tinkering and refreshing in the interests of keeping them going year in or year out, or whether to rest them and bring them back, revived, once the audience has had a chance to miss them for a while. Big Brother is the perfect example of a format which just keeps on bouncing back, time after time, in new guises, and with new twists, in territories all around the world. While in the UK it is about to enter a fallow period (having finally been cancelled by Channel 5, eight years after they took the show over from Channel 4), in other markets it is either in the midst of another reinvention, or indeed coming back after a hiatus. The latest Celebrity Big Brother launched on CBS this month, still hosted by Julie Chen, and with some good controversial bookings in the form of former White House Communications Director Anthony Scaramucci and Olympic swimmer Ryan Lochte. As value for money goes, a show which can still sustain episodes on Mondays, Tuesdays, Celebrity Big Brother - CBS Wednesdays, Fridays and Sundays (along with companion show Celebrity Big Brother: After Dark, on sister cabler Pop) is still one to be looked after carefully. With heavy competition from America’s Got Talent: The Champions and The Bachelor, it started a little slower than in 2018, opening with a 1.5 rating among adults 18-49 and 5.4 million viewers, down from 1.8 and 7.27 million for its debut last year. But on the plus side, that 18-49 rating was the best in the 8-9 pm Monday slot for CBS this season - suggesting that the stalwart can still hold its own against newer formats. In Spain meanwhile, the show returned this month as Gran Hermano Dúo (Big Brother Duo) on Mediaset's Telecinco. Following recent success with celebrity editions, the green light was given for the launch of this new twist on the non-celebrity version, with pairs entering the house together, and having to make all decisions jointly. The debut episode achieved 2.532 million viewers (a 22.3% share), almost equivalent to that achieved by the second episode of The Voice, up against it on its new channel home of Antena 3 - although The Voice won out in the period when both went directly head to head. And in Poland and Finland, the format is also on the way back, following a lengthy hiatus in both territories. In Poland TVN7 will be airing a new season in the spring, ten years since it was last on air, and 18 years since in first launched on the channel in 2001. And in Finland Nelonen Media has ordered its first version to debut on their channel Jim and Ruutu in the autumn, five years after it was last broadcast on Bonnier’s Sub. In both territories it’s been long enough that social media has exploded in the time since the format was last on - bringing plenty of extra opportunities for refreshing the interactive and social aspects of the series. And, with 28 productions airing across 21 territories in 2018, it’s a reminder that - as we enter its 20th anniversary year - some rare formats like Big Brother carry the potential for endless reinvention within their very DNA.
K7.Media 11 of 21 K7 World Entertainment & Reality Report January 2019 When one territory successfully revives a format, it’s usually not long before others follow - taking the comfort good relaunch ratings provide, and the benefit perhaps of a period of intensive attention and support from format owners keen to build some international momentum. That has certainly been the case for ITVSGE’s Dancing on Ice, which came back this month on both ITV and Sat.1 The German version - the first since its one and only season in 2006 - pulled in 2.69 million viewers and an 8.8% share overall, but exceeded expectations particularly amongst younger viewers (1.25 million, and a strong 12.4% share A14-49). In the UK, the ITV version has been rating way above the channel average, in its second season after a 4 year hiatus. Other than a new camera on the ice, a new purpose-built studio and rink (for the 2018 relaunch), and some new pro skaters, the format has stayed pretty much unchanged, including most of the key talent. In this instance, ITV have been proven right in their hunch that there was nothing essentially wrong with the show as it stood, but that a short rest (and perhaps the absence of other celebrity reality challenge formats like The Jump or Splash) would leave the way clear for this one to stage a successful comeback. And with one of the last pantomime villain judges left standing - Jason Gardiner - now Simon Cowell has mellowed, they’ve been reaping the publicity benefits of some controversial on-air spats. Whether the show’s revival in two key territories leads to pick-ups elsewhere remains to be seen - sales of the format were hampered at launch in 2006 by the rival Fox show Skating with Celebrities, not to mention hefty production costs, but it sold nonetheless to 9 other territories so we may see new takers for its proven formula of dancing contest ‘with added danger’. Of course ITV have also done well with the return of another rested, super format - Who Wants to Be A Millionaire? - now back for a second stripped run, following its test 20th anniversary outing last year, and pulling in a decent ratings around the 3.5 million mark with new host Jeremy Clarkson. Now Canale 5 have similarly tested the water, with four episodes hosted by Gerry Scotti, celebrating the show’s 20th anniversary in Italy in the run-up to Christmas, and winning its slot with 3 million viewers. Anniversaries provide broadcasters with the perfect excuse to test the appetite for a return, often with a new host, and the opportunity to market it as a ‘special’. The format also returned in France this month - the first series since 2016 - with 5.17 million viewers, an impressive 28.8% audience share, suggesting that this is one format with plenty of life left in it, given the odd rest between seasons. The other route with a gameshow revival is of course to add in a comedic host and / or ironic twist - a trick that has worked well for everything from Through the Keyhole, to The Gong Show and Joker’s Wild. In the UK Comedy Central are exploring this direction with their reboot of the latest show from the (seemingly inexhaustible) Fremantle archive, daytime student quiz favourite Blockbusters. Filming took place on the 15th, 17th and 18th of January for a new version featuring comedian host Dara O’Briain. But in the last year it’s the wave of reality revivals that has really grown, as classic gameshow IP perhaps begins to finally dry up. The hottest area is in the dating and relationship space, with any number of broadcasters looking to put their own 2019 spin on an old show, and bag themselves a social-media-fuelled rival to Love Island in the process. For Channel 5 in the UK, that is clearly the ambition, as they set out to woo the ITV2 Love Island audience (and perhaps replenish some of the 16-34’s audience that will be lost with
K7.Media 12 of 21 K7 World Entertainment & Reality Report January 2019 the axing of Big Brother), with another revival of The Bachelor. Having originally begun in the UK on BBC3 (2003-2005), it found its new home on Channel 5 in 2011, with a successful celebrity series featuring rugby player Gavin Henson. A second season featuring reality star Spencer Matthews was a flop, and the format was duly ‘rested’ once again, before being confirmed to return later this year for another 10 episode series. Mark Wright will be hosting, and filming has reportedly taken place in South Africa. Despite plenty of successful celebrity and non-celebrity dating shows in recent years, UK audiences have always tended to prefer level playing field group dynamics - as in Love Island, Ex on the Beach, Celebs Go Dating etc - rather than the single dater picking from a group. With The Bachelor, as with its short-lived ITV rival Mr Right (2002), there has always been some resistance to setting one person up as a ‘prize’ worthy of everyone else’s attention and efforts - a collective, national attitude of ‘who does he think he is?’ running counter to the US format’s central premise. It will be interesting to see whether a new outing can overcome that slight issue in this market - 2011’s tongue-in-cheek approach achieved it best to date. When in doubt, the general rule of thumb for reality shows over the last 20 years has been to add in an island, and the formula is no less prevalent in 2019. Banijay are covering the bases with two island revivals this month - castaways popularity contest Shipwrecked (E4, UK) and Temptation Island (USA, USA). In truth, despite much being made of how they have evolved to fit the times, neither appears to have changed that much in basic format. In Shipwrecked two tribes of castaways - Sharks and Tigers - compete in a popularity contest on two uninhabited paradise islands. The tribes must win over new arrivals; the largest tribe at the end of the seres is awarded £50,000. New host Vick Hope is a Capital FM presenter, and the cast are the now customary 2019 mix of models, students and social media Shipwrecked - E4 influencers. Originally airing in 2000 as a social experiment on now-defunct Channel 4 programming brand T4, the show morphed into a contest with a cash prize in 2006 - a structure the new version has kept, albeit with the promise of some extra ‘hidden treasures and traps’ to stir things up a bit. And despite lots of talk of Temptation Island having to change to fit with the times, there is actually not that much different in this one either - even down to original host Mark L. Walberg. As before, four couples live on separate sides of an exotic island in Hawaii, and are joined by 24 eligible singletons who put the long-term viability of their relationship to the test. The premise no longer feels as shocking as it once did, and although there is much talk of it being a valid, respectable experiment, and the singles genuinely in it for love rather than to break up couples, cast and narrative seem fairly as before - other than perhaps with a little more savviness from the singles about their prospects of gaining fame and Instagram followers off the back of it. Although the catfights and ups and downs of the couples are fun, in the end we mostly want them to stay together - but maintaining the status quo is not a great recipe for a dramatic reality show pay-off. It remains to be seen if this version of the format can overcome that and sustain interest, where seasons 2 and 3 of the original largely failed.
K7.Media 13 of 21 K7 World Entertainment & Reality Report January 2019 Fox meanwhile, will be countering the CBS version of Love Island with a 2019 reboot of their other tropical resort dating show Paradise Hotel - this time with ‘interactive elements enabling fans to orchestrate the show’s narrative’. When these shows were last on air - in the early 2000s - interactivity was always more of a problem for US shows, due to the time zone differences and their preference for highly produced storylines over messier real-time narrative authenticity. But with an increasing willingness to overcome these challenges - as with the first American Idol Live shows last year - and shows like Love Island demonstrating how viewers can use social media to shape a format as it unfolds, that may be about to change.
Premieres At a Glance
Down the Snow (Een.com, Belgium) produced by Roses Are Blue, distributed by VRT - first available Tuesday 18 December 2018 Ellen’s Game of Games: Holiday Spectacular (NBC, USA) produced by Warner Horizon Television, Telepictures and A Very Good Production, distributed by WBITVP - first tx Wednesday 12 December 2018 Ellen’s Game of Games (NBC, USA) produced by Warner Horizon Television, Telepictures and A Very Good Production, distributed by WBITVP - new season first tx Tuesday 8 January 2019 America’s Got Talent: Champion of Champions (NBC, USA) produced by Fremantle North America and Syco Entertainment, distributed by Fremantle - first tx Monday 7 January 2019 The Voice Senior (VTM, Belgium) produced by Talpa, distributed by Talpa Global - first tx Friday 7 December 2018 Big Star’s Bigger Star (ITV, UK) produced by 12 Yard, distributed by ITVSGE - first tx Saturday 15 December 2018 Back in Time for Dinner (BBC2, UK) produced by Wall to Wall Productions, distributed by WBITVP - first tx Thursday 3 January 2019 Say Yes to the Dress (TLC, USA) produced by Half Yard Productions, distributed by Red Arrow - first tx Saturday 5 January 2019 Say Yes to the Nest (HGTV, USA) produced by Half Yard Productions, distributed by Red Arrow - first tx March 2019 TBC Building Brady (HGTV.com, USA) - first available December 2018 A Very Brady Renovation (HGTV, USA) - first tx September 2019 The Dome (RTL2, Germany) produced by RTL2 - first tx Saturday 1 December 2018 Big Brother: Celebrity Edition (CBS, US) produced by Fly on the Wall Entertainment & Endemol Shine North America, distributed by Endemol Shine Group - first tx Monday 21 January 2019
K7.Media 14 of 21 K7 World Entertainment & Reality Report January 2019 Gran Hermano Dúo (Big Brother Duo) (Telecino, Spain) produced by Endemol Shine Spain, distributed by Endemol Shine Group - first tx Tuesday 7 January 2019 Big Brother (TVN7, Poland) produced by Endemol Shine Poland, distributed by Endemol Shine Group - first tx spring 2019 TBC Big Brother (Jim and Ruutu, Finland) produced by Endemol Shine Finland, distributed by Endemol Shine Group - first tx autumn 2019 TBC Dancing on Ice (Sat 1, Germany) produced by ProSiebenSat.1 Produktion GmbH, distributed by ITVSGE - first tx Sunday 6 January 2019 Dancing on Ice (ITV, UK) produced by ITV Studios, distributed by ITVSGE - first tx Sunday 6 January 2019 Who Wants to Be A Millionaire? (ITV, UK) produced by Stellify Media, distributed by Sony Pictures International - first Tuesday 1 January 2019 Who Wants to Be a Millionaire? (Canale 5, Italy) produced by Wavy, distributed by Sony Pictures International - first tx Friday 7 December 2018 Qui veut gagner des millions? (Who Wants to Be a Millionaire? TF1, France) produced by Starling, distributed by Sony Pictures Television - first tx Saturday 19 January 2019 Blockbusters (Comedy Central, UK) produced by Thames TV, distributed by Fremantle - first tx TBC 2019 The Bachelor (Channel 5, UK) produced by Ricochet, distributed by WBITVP - first tx TBC 2019 Shipwrecked (E4, UK) produced by Fizz and Motion Content Group, distributed by Banijay Rights - first tx Monday 28 January 2019 Temptation Island (USA, USA) produced by Banijay Studios North America, distributed by Banijay Rights - first tx Tuesday 15 January 2019
K7.Media 15 of 21 K7 World Entertainment & Reality Report January 2019 New Year, New Moves: Three Directions In… Song and Dance
Last year - perhaps contrary to what some might have predicted - we ended up featuring singing and/ or dancing show themes in roughly half of our World Entertainment and Reality Reports, such was the sheer, continuing volume of new formats in these genres. As The X Factor, Got Talent and other stalwarts began to age, and streaming platforms began to challenge traditional family viewing slots, many assumed the talent era would wane. But far from it - the dance genre is now almost as prolific as singing, and if there are maybe fewer big arc’d contests to challenge the likes of The X Factor and The Voice, there are still plenty of other format shapes being tried, both competitive and non-competitive. And what’s particularly interesting is to note how very specific moments, devices or tonalities from the most successful shows are being mined over and over again, in different ways, to form the basis of entire new series. The Show Must Go On When it comes to giving masterclasses in entertainment show formatting and production, The Voice is often cited as a perfect template. What it does brilliantly is to create a series of play-along decisions and reveals, one after another - how will they sound? who will turn? will the judges like what they see? who will the singer choose? - and so on. What it also does is to tell its stories, almost wordlessly, in the cuts between facial reactions (singers’ and judges’) and performance - and to bring out the emotional pressure in having to continue to deliver that performance whilst being confronted with those (exciting or disappointing) reveals. This ‘the show must go on’ pressure/ reveal was at the heart of Rising Star, and now also M6’s Audition Secrete and BBC1’s The Greatest Dancer, as auditionees must continue to deliver their song or dance both at and beyond the moment when the reactions of a huge studio audience are suddenly revealed to them as doors slide back. In the French The Greatest Dancer - BBC1 show more is made of the surprise element of the reveal, but across the run of the series, the believability of this aspect may have been a reason behind dipping ratings, despite a powerful promo and launch. The Greatest Dancer perhaps sensibly dispenses with the surprise and makes more of the ‘will the doors open or won’t they?’ jeopardy, with the dancer once again needing to stay focused on finishing the performance once the magical 75% audience vote threshold is reached and the fourth wall of the dance studio slides back. The money shot is the look on their face(s) combined with their skill - emotion + prowess = talent show gold in a single frame. In the opening episode this moment found its best expression in the final performance from an endearingly delighted and totally thrown contestant with Down’s Syndrome. Whether there are enough of those moments to sustain the show through multiple episodes, and once the audition phase is left behind, remains to be seen. The bold decision to throw
K7.Media 16 of 21 K7 World Entertainment & Reality Report January 2019 out any expert judgment entirely in favour of audience reaction may fit well with these anti- expert times (will we see more populist ‘let only the audience decide’ judgements?), but has also divided audiences used to some combination of the two. The series opened well nevertheless, with a solid 4.6 million (24.8%) viewers, in line with the slot average, and above last year’s launch of All Together Now (3.6 million, 19.6% share). Episode 2 then lost 600,000, but no doubt Fremantle will find plenty of takers for what is still a slick, well- produced dance format. Proving that the mid-performance reveal is not just the preserve of the studio talent show, Channel 4’s Flirty Dancing applied the same trick as the stand-out moment of its dating reality format. Two lonely singles learn separate halves of a dance routine (choreographed by host and Diversity dancer/ choreographer Ashley Banjo), before coming together to Flirty Dancing - Channel 4 perform it in a highly visual setting - La La Land-style. The twist is that the dance is the first time they meet, and they part after it without ever speaking - leaving the decision as to whether to reunite and have a proper date to later. Once again the hook of the show is the mid-dance reveal - the expression on their faces as they turn to face each other in the opening bars of the routine and their attempts to keep the performance on track as they simultaneously weigh up whether there is any chemistry. In the second pairing of the first episode - two beardy gay blokes from Cardiff dancing in an art gallery - the look of mutual delight, and their building enthusiasm throughout the dance, were a great advertisement for the power of television to tell a story without words. In the second episode a messed-up dance routine left you (and the couple) wondering whether future relationship miscommunication really had been foreshadowed in a poorly executed series of lifts. But in the end, once again it will come down to whether the casting and variety of stories to deliver those moments are enough to sustain returning series, when a simpler dating format like First Dates has endless conversational twists and turns to hold our interest. Either way it’s another example of increasing numbers of shows in which singing and dancing are being used to tell emotional stories about people’s lives, rather than as the basis for a studio-bound contest. Hot on the heels of the Danish version on DR1 (locally known as En Sang fra Hjertet Tr. A Song from the Heart but internationally as The Recording Studio, November 2018), BBC1’s alternatively titled UK take This Is My Song launched in December - the latest iteration of this concept. The simple, but effective, idea of having people rehearse and record a song of significance to them - as tribute or thanks to someone - puts this one firmly within the wish fulfilment genre currently seeing a resurgence, rather than the talent show, but these warmer, factual entertainment music series can also be a good opportunity to use industry talent in new ways, allowing the audience to see more of their mentoring and professional expertise as they guide the contributors. The Danish version featured producers from other talent shows (Lina Rafn from The X Factor/Live and Cutfather from The Voice Junior and The X Factor) in this way.
K7.Media 17 of 21 K7 World Entertainment & Reality Report January 2019 Like Flirty Dancing, it’s an effective way to use music as a shortcut into creating a connection with people’s life stories and character. And like many of these factual entertainment performance shows now being taken out of a TV studio - The Greatest Dancer, The Big Audition - the series makes much of its anchoring location ‘hub’, with the now-seemingly- obligatory, First Dates-style, meet-and-greet reception area used to set up those stories and characters without the need for an intrusive host.
I Sang It My Way The other hugely influential show to have moved the music show away from arc’d talent contest was of course Lip Sync Battle, and we’re seeing that influence in a raft of shows which take celebrity cover versions as their starting point. The most talked-about, and similarly comedic, has been Fox’s The Masked Singer, launching this month to great ratings (9.21 million and a 2.9 in the A18-49 demo), and wowing viewers with its lavish costumes, play-along appeal, and generally insane vibe. Ratings since have inevitably dropped off somewhat, but it’s still holding pole position on Wednesday nights at a very decent 7.07 and 6.89 million in weeks 2 and 3. Like Lip Sync Battle it’s the comedy of seeing The Masked Singer - Fox (reasonably) famous people make total fools of themselves in elaborately dressed set-ups - in this instance ramped up considerably in scale and design, and with the added bonus of a big ‘guess who?’ reveal in every show. In the end it’s all extremely effective dressing to distract from fairly average performances, and no real jeopardy - but hey, we have lots of other shows for all that, so audiences seem just fine with something so bizarrely and pointlessly entertaining for a change. At its heart it’s essentially Celebrity Stars In Their Eyes/ SoundMixShow, ramped up to the max, and thanks are due to the Koreans for showing the rest of the world a new take on that particular classic format device. Perhaps applying an Asian sensibility to other old entertainment shows might be another useful route to reinvention in 2019. In France a couple of new music entertainment shows are also going down the celebrity cover versions route. Following on from M6’s Audition Secrete last year, TF1 have now launched La chanson secrete (tr. Secret Song) which has singers surprising other artists by covering their songs in new arrangements. The most entertaining rounds see the singer then surprised with a second surprise guest halfway through the song, creating lots of emotional moments for the artist in the chair, particularly when the surprise guest is a friend. As with most of these types of celebrity performance show, the stakes are lower, with no in- built hook to keep audiences coming back week after week for a pay-off, so these promotable reveal moments are key - along of course with the calibre of the bookings. The launch had a decent 4.85 million viewers - a 23.3% share. The week before - just before Christmas - M6 sister digital channel W9 ran Les Duos inattendus (tr. Unexpected Duets), in which two singers from different generations duet
K7.Media 18 of 21 K7 World Entertainment & Reality Report January 2019 on a song to pay tribute to their shared musical heritage. Recorded as a one-off concert at the Dome de Paris, the line-up featured older, established stars like David Hallyday (son of Johnny), alongside younger talent show winners and up and coming artists, with the musical canon they are interpreting including songs from Johnny Hallyday, Aretha Franklin and Charles Aznavour. In this case the differing generational takes to the interpretations are the key, with a semi-battle vibe to the collaborations. In Germany ProSieben’s new music format My Hit. Your Song, combines elements of both the French shows - but with a competition element - as solo artists and bands perform the hits of their musical idols, to the idols themselves. Each music star has two versions of their song performed for them, by two very different acts, and then decides which version they prefer. Ultimately, the audience decides which act is in with the chance of winning 25,000 euros. The show got off to a slow start, with just 1.05 million total viewers tuning in, a 3.4% share (A3+), but did better in A24-49 with an 8.3% share. It seems that the multi- generational covers show is on song in Europe right now. In Spain meanwhile, Endemol Shine Group’s Gestmusic are working on a new show that will harness the talents of a selection of 10 famous singers (including several from recent seasons of their talent show Operacion Triunfo) in the service of deciding La mejor canción jamás cantada (Tr. The Best Song Ever Sung). Songs from the 50s to the present day will be in the mix, and it will be interesting to see how the voting process manages to distinguish the success of the performances from the quality of the songs - the obvious reason why these types of song-based countdowns are more often done as archive rather than live performance shows.
Making It Pay But amongst all these celebrity cover shows and emotional, music-based fact ent formats, let’s not imagine that the days of the talent contest with a career or cash prize are over. In the end, the genuine high stakes and jeopardy of a performer competing to win a career dream is still the simplest, most compelling engine for an entertainment format. And as we’ve noted before, for traditional broadcasters these shows are still amongst the most effective ways to gather multi-generational audiences around scheduled programming. Several of the shows we’ve mentioned in past reports have now launched, been picked up elsewhere or been recommissioned - here’s a quick update on their mixed fortunes. The first season of Talpa’s House of Talent drew only moderate ratings on SBS6 last season, but was recommissioned for a second series before the first drew to a close on the 28th December - perhaps justified by its importance as a continuing test-case for a genuine multi-channel approach to the talent reality genre. As the 8 aspiring House of Talent - SBS6 musicians attempt to launch their musical careers, the key to their success is how they manage to build support across more than 40 social channels - providing useful insights into what will most effectively drive the young target audience to engage.
K7.Media 19 of 21 K7 World Entertainment & Reality Report January 2019 Following straight on from it in the SBS6 schedules was their next new Talpa talent format DanceSing - the search for the country's best performer who is talented at both dancing and singing. In this instance the career prize is the opportunity to record an original single with producer RedOne. Ratings were encouraging for the launch, with a 17.4% share in the key 20-54 demo (going up from 13% to 23% during the course of the show), but dipped to 12.8% for the second episode - still above the slot average, but a little worrying for a show with clearly expensive (and very impressive) set and production. Despite promising a whole new level of double-threat talent, finding performers who are genuinely equally impressive at singing and dancing IS hard, so the casting bar is set high. Endemol Shine format Prodigies - originating in France and now being adapted by RTVE and Shine Iberia in Spain - has a similar challenge, as it sets out to find youngsters talented in the categories of song, dance and instrumental. Clearly both territories have confidence in enough talent to at least launch the series. And in China, Youku’s All For One is just the latest of many Asian ‘boy band idol’ shows of the last couple of years to be testing its young wannabes in singing, rapping, dancing and songwriting. In this instance the 100 contestants are put into 10 classes, each led by the highest scoring ‘leader’ in the group, and the main twist to differentiate it from other similar shows like Produce 101 is that they are divided up into these specific talent groups (singing, dancing, rapping, songwriting, image). Another extremely elaborate Chinese set hasn’t been enough to guarantee big ratings, or even great reviews (public review website Douban gave it a 3.2 out of 10) - suggesting that the Chinese may be starting to experience the law of diminishing returns on these shows now. Of the other pure dance shows currently on the market, Pro7’s adaptation of Keshet’s Masters of Dance - searching for the country’s best dancer - also launched well in December (1.32 million viewers A3+ and 860.000 viewers in the target group A14-49, above the Pro7 average share); while Armoza Formats’ high-tech, sports-cam assessment show Masters of Dance - Pro7 Dance Revolution has been picked up in France by Reservoir Productions (Lagardere Studios), alongside a second season announcement from original broadcaster TVA (Canada). And in Spain the doors are about to open for a second season of dance academy competition format Fama, a bailar, an adaptation of Floor Filler. This will be the second season to air on Movistar+'s pay-TV channel #0, after the format previously aired on Cuatro between 2008 and 2011. The first casting/ elimination shows go out on the 29th and 30th January, before the selected dancers move into the academy on the 1st February. On the evidence, 2019 promises to be another busy year for new twists on singing and dancing in many territories, with most broadcasters accepting that there is room for many scales and styles of show within this most robust of genres, including but by no means limited to the studio-based, competitive talent super-formats.
K7.Media 20 of 21 K7 World Entertainment & Reality Report January 2019 Premieres At a Glance
The Greatest Dancer (BBC1, UK) produced by Syco Entertainment and Thames TV, distributed by Fremantle - first tx Saturday 5 January 2019 Flirty Dancing (Channel 4, UK) produced by Second Star, distributed by All3Media International - first tx Thursday 10 January 2019 This Is My Song (BBC1, UK) produced by Boundless, distributed by Fremantle - first tx Thursday 13 December 2018 The Masked Singer (Fox, US) produced by Smart Dog Productions/ Endemol Shine North America, distributed by MBC - first tx Wednesday 2 January 2019 La chanson secrete (TF1, France) produced by DMLSTV - first tx Saturday 29 December My Hit. Your Song (ProSieben, Germany) produced by Constantin Entertainment - first tx Thursday 17 January 2019 La mejor canción jamás cantada (Tr. The Best Song Ever Sung, La1, Spain) produced by Gestmusic, distributed by Endemol Shine Group - first tx TBC House of Talent (SBS6, NL) produced by Talpa, distributed by Talpa Global - last tx Friday 28 December 2018 DanceSing (SBS6, NL) produced by Talpa, distributed by Talpa Global - first tx Thursday 10 January 2019 Prodigies (RTVE, Spain) produced by Shine Iberia, distributed by Endemol Shine Group - first tx TBC All For One (Youku, China) produced by Youku, distributed by Youku - first tx Thursday 17 January 2019 Masters of Dance (Pro7, Germany) produced by Tresor Tv, distributed by Keshet International - first tx Thursday 13 December 2018 Fama, a bailar (#0, Spain) produced by Movistar + and Zeppelin TV, distributed by DRG - new season tx Monday 29 January 2019
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