As he gears up for his trip to Mipcom, Andrew Llinares, the director of global entertainment at Fremantle, shares insights with Variety regarding his market offerings and the lasting charm of iconic shows from the production and distribution giant, including “Got Talent,” “Idol,” and “The X Factor.”
At Mipcom, Fremantle is showcasing key titles such as the strategic reality concept “Pandora’s Box,” the comedic format “Knockout Champs,” and the engaging factual series “The Secret DNA of Us.”
“Pandora’s Box” originated from RTL Creative Unit in the Netherlands, with productions currently taking place in the Netherlands, France, and Hungary. The Dutch version is under the aegis of Fremantle’s Blue Circle for RTL Netherlands.
“It represents an evolution in the strategic reality genre, featuring a fresh game mechanic at its center,” Llinares remarks.
Image courtesy of Fremantle
The show draws inspiration from the Greek myth, where Pandora, the first mortal woman, is given a sealed box by the gods. “We center our game on Pandora’s Box with 12 contestants, who are warned not to open it. If the box stays closed, a substantial prize fund is at stake. Yet, numerous temptations encourage them to unveil it,” he elaborates.
He further explains that “in each episode, two contestants are cursed; they find out their fate, leading to their heads being submerged into the box. The two who end up in the box at the episode’s conclusion must duel to remain in the game. Therefore, being in the box is undesirable.”
The aesthetic of the show mirrors the essence of Greek mythology, Llinares mentions.
“Knockout Champs,” developed by the Dutch digital label De Stroom in collaboration with Blue Circle, merges content creators and comedians. Originally designed for YouTube and boasting a robust following, it has now transitioned to the Dutch streaming service NPO Start.
Image courtesy of Fremantle
“It’s a comedy where two teams compete to make the opposing team laugh involuntarily. Points are earned by drawing laughter from your adversaries,” Llinares notes.
“Knockout Champs” was crafted alongside Supergaande, a tight-knit group of friends akin to popular collectives like Sidemen and Beta Squad. The show delivers groundbreaking comedy that resonates with a youthful, diverse audience, embodying the culture and humor that speaks to their established fan bases.
“YouTube is capturing a considerable youth audience, and reaching them on traditional television can be challenging. However, the young viewers successfully transitioned to watch our show. They became enamored with the YouTube content and pursued it to NPO Start,” Llinares states.
“The production remained true to the YouTube style. Often, when adapting for ‘real TV,’ content may be altered significantly and more polished, possibly removing edgier jokes. We were committed to preserving the show’s original spirit, language, and edge; this authenticity resonated deeply with our younger viewership,” he explains.
The response from younger demographics has confirmed the efficacy of this approach. “We shouldn’t shy away from appealing to young audiences even if it’s more challenging to connect with them. Young consumers engage with content like no other group today. I aim for our formats to excite and inspire young viewers,” Llinares emphasizes.
Image courtesy of Fremantle
“Knockout Champs” topped the viewership charts on NPO Start for four consecutive weeks, amassing over 50 million social media views in the same period. It ranks as the third most-watched title on NPO Start this year, with a primary audience demographic of young males (78% aged 16 to 34).
Fremantle embraces both traditional TV and the digital landscape, Llinares asserts. “I believe the entertainment sphere is expanding, accommodating various forms of engagement. This shift is evident in KSI’s role as a judge on ‘Britain’s Got Talent,’ representing a fusion of these domains. They are no longer separate; they have become integrated and mainstream, creating opportunities for synergy.”
“The Secret DNA of Us,” described by Llinares as “a warm hug of a show,” was conceived by Fremantle’s Naked label in the UK, with its first version developed by Eureka in Australia for SBS. “Each episode explores a town by analyzing its DNA, revealing communal connections among its residents and uncovering fascinating individual narratives. The show evokes a profound sense of community, showcasing people discovering their shared histories or even familial ties, and spotlighting remarkable personal stories.”
Image courtesy of SBS
“It truly feels like a warm hug, as it reflects our innate desire to understand our identities and origins. While the show can be entertaining and funny, it often embraces deeply emotional themes as well.”
Llinares highlights that cultural relevance is crucial for a show’s success. “For any show to thrive and transcend mere TV entertainment, it needs to resonate with the current societal landscape and reflect the zeitgeist.”
Summarizing his three flagship presentations for Mipcom, Llinares articulates, “Each format caters to distinct market needs and appeals to diverse audiences, fulfilling a variety of expectations.”
Fremantle’s classic formats are celebrating significant milestones, with “America’s Got Talent” commencing its 20th season last summer. Next year, the company will honor 70 years of “The Price Is Right,” 50 years of “Family Feud,” and 25 years of “Idol.”
Llinares is well-equipped to analyze the enduring success of such globally recognized formats. He served as the original showrunner for “The X Factor” and “Got Talent” when they debuted in the UK in 2004 and 2007, respectively. Since relocating to the U.S. in 2011, he has been executive producer and showrunner for the U.S. version of “The X Factor” and assumed the role of executive producer and showrunner of “Dancing With the Stars” in 2018.
What is the secret behind their lasting popularity? “It’s essential to maintain the core DNA of a show to ensure its longevity over the years,” Llinares asserts.
“‘Got Talent’ has thrived for two decades, continually evolving in terms of the talent showcased and the scale of the production while preserving its fundamental DNA, which is to recognize and celebrate extraordinary talent and the heartwarming stories that come with it.”
“Simply put, it’s an extraordinary fairy tale of a show. At its core, it’s about empowering individuals to present their best selves, and this central essence has remained unchanged.”
The introduction of the Golden Buzzer is one of the innovations that has intensified the show’s emotional impact.
“Shows like ‘Got Talent’ take audiences on an emotional journey. In the audition phases, we witness the hopes of participants wishing to succeed and gain recognition. When a contestant receives a ‘Yes,’ it culminates in an unforgettable moment, akin to the reaction we saw from Susan Boyle years ago. The Golden Buzzer amplifies these pivotal moments, enhancing their spectacle.”
“I’ve always said that we operate in the realm of feelings, and it’s imperative for a show to evoke emotions. Talent shows, in particular, elicit extreme feelings—joy and sorrow, depending on successes or failures during performances. As producers, we must continually ask ourselves, ‘How can we deliver new emotional experiences?’
“When we distill it down, the success of a great format lies in audience engagement.”
In today’s landscape, audience engagement also encompasses social media interactions. “We recognize that one of the vital elements for sustaining interest in shows is social media content,” Llinares illustrates. “Auditions encapsulate captivating shorts that are perfectly suited for digital viewing and achieve remarkable numbers.”
“Our early successes with Susan Boyle and Paul Potts during the inaugural British series were witnessed as YouTube began to emerge. Over the ensuing years, we noticed a tremendous global narrative unfurling around figures like Susan Boyle.”
“Celebrating 20 seasons of ‘America’s Got Talent,’ we’ve noted this series has garnered an impressive 1.7 billion views across social media.”
“Fremantle has a storied legacy of generating timeless entertainment hits across varying platforms throughout the decades, with part of that success linked to our ability to adapt alongside our audiences.”
“We observe a crossover between linear and digital entertainment, such as the remarkable rise of ‘Knockout Champs’ co-produced with digital-first artists, and having YouTuber KSI as a permanent judge on the upcoming season of ‘Britain’s Got Talent,’ alongside our venture into innovative creator-led projects like ‘Sidemen Supermarket Sweep.’”
