EXCLUSIVE: TF1 is France’s largest commercial broadcaster with an unscripted output that includes the local versions of Survivor, The Masked Singer and Dancing With The Stars. Locally, it has formats including Star Academy, Master of the Game and The Parisian Agency, which is on Netflix globally.
The next turn of the wheel in unscripted is all about ‘gamification’, Julien Degroote, EVP and Head of Content Development at the broadcaster tells Deadline in an exclusive interview. That applies across any quiz, shiny floor and reality shows, and defines what TF1 wants in its unscripted fare, he goes on to explain.
“What feeds our thoughts is a big trend of what we call ‘gamification,’” Degroote says. “For us, that’s the trend that is driving the entire industry and fueling all our thinking.”
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In an era of unlimited viewing choices and competition from deep-pocketed streamers, it is harder than ever to have big, glossy mainstream hits. Whether it’s TF1, or ITV in the UK, ProSieben in Germany, or Telecinco in Spain, the big commercial networks still command mass audiences, but have to work harder than ever for those eyeballs.
Add in the spiraling costs of scripted TV – with budgets even Europe’s biggest broadcasters are struggling to cover – and getting unscripted hits on air becomes more important than ever. That has informed TF1’s strategic approach.
“I would say gamification is the trend for three reasons,” says Degroote. “The first one is about fun. With all the fears and dark news around the world, we have to offer things that are light, entertaining, colorful and feel-good.”
The TF1 exec points to Fremantle-produced Master of the Game – TF1’s answer to The Traitors, which is on rival channel M6 – and quiz show 1 To 10 as examples of shows that lean into escapism. 1 To 10 was a paper format that TF1 tried out with a two-episode order last year. It has now greenlit more episodes.
“The second reason for gamification one is co-viewing – having a game and playing with your family or with friends,” Degroote says. “It could be a quiz, or an investigation game like Master of the Game, where you’re going to try to find out who is the accomplice. The idea is to familiarize people with co-viewing. With these kind of shows we bring people together in front of the TV.”
Degroote’s third reason for leaning into gamification is getting viewers invested enough to play along. “Let’s say for The Masked Singer, you are trying to find out the celebrities behind the mask,” he explains. “If you are involved emotionally and active, you create a bond with the show and you want to come back next week.”
New Shows & Retrofits
In terms of new shows that play into the gamification trend, TF1 has just greenlit Sea Battle, which transports the ship-sinking board game to a massive set, as revealed by Deadline last week. It hails from Arthur Essebag’s Satisfaction Group.
Degroote lifts the lid on another paper format from Satisfaction, which TF1 will try out on air. It has the working title Focus.
Satisfaction boss Essebag is a well-known host and will front the quiz show. “It will test all different abilities of the brain; logic, memory and so on,” Degroote explains. “You’re going have eliminations, and at the end you have only one left for the final round. If they prove they have the most complete brain, they get the jackpot.” Filming takes place this month.
TF1 also snagged The Box, out of formats hotspot Norway. Produced and distributed by indie producer Seefood, it is probably the buzziest new format in the international market right now. ITV and RTL in the Netherlands are among the other big-name buyers. The show has contestants locked in yellow boxes that open in a surprise location whereupon players immediately face an unexpected challenge. “That’s the perfect example of gamification,” Degroote says.
Gamification can also be retrofitted to existing franchises, the TF1 unscripted exec adds. That happened with Endemol France-produced singing competition Star Academy, which has been rebooted in recent times. “We added some gamification elements. For example, we decided to give the three contestants up for elimination a challenge where they are on stage at the same time, singing parts of the same song.”
New Reality
TF1’s definition of gamification – shows that are fun and escapist, drive co-viewing and encourage playing along – speaks to the wider goals of any mainstream broadcaster, which is winning big, broad audiences for their flagship channels.
The big broadcasters all also have more specialist digital channels. In TF1’s case, it has digital networks including TMC and TFX. The latter is youth-skewed with shows such as Tattoo Fixers. It would be too small for TF1, but plays well to a more targeted audience.
If quiz, shiny-floor, and on-location serialized shows are three categories of unscripted TF1 needs for its main channel, a fourth category is added on the DTT channels, which is reality.
TMC is about to launch a spin-off from The Parisian Agency: Exclusive Properties, a reality series following the Kretz family and their luxury real estate business. The new show, New Destinations, follows two brothers from the family as they look for lux property in desirable international locales. Netflix took international on the first season and is a co-pro partner on subsequent runs. As of now, it is not attached to the new show, which is about to launch.
Gamification as set out by TF1 is codifying some of the core principles that massive mainstream broadcasters stand by – offering entertaining, inclusive, conversation-starting TV. For producers pitching to TF1 and others, it’s worth having in mind the gamification elements that TF1 and others are looking for as they scout for the next breakout unscripted hit. After all, everyone wants to get ahead of the game.
The post Game On: French TV Giant TF1 Breaks Down The Trend Defining Its Unscripted Plans appeared first on Deadline.
