The Green Post Ireland
For years, it seemed as though unscripted television had already reached its peak at the turn of the millennium. That era delivered a wave of hugely influential shows such as Big Brother, Pop Idol, Who Wants to Be a Millionaire, Survivor and The Weakest Link, formats that reshaped global television schedules.
Yet rather than fading, unscripted programming has entered what may be its true golden age. Many of those original formats are still running today, while a new generation of hits has emerged alongside them. Shows such as Strictly Come Dancing (known internationally as Dancing with the Stars), The Voice, Gogglebox and The Traitors now dominate schedules and cultural conversation, making unscripted TV more valuable to broadcasters — and more compelling to audiences — than ever before.
Why broadcasters rely on unscripted TV more than ever
Across Ireland, the UK and the US, lists of the most-watched programmes tend to feature the same categories at the top: soaps, live sport and unscripted formats like reality shows and game shows. Their appeal is closely tied to how viewing habits have changed.
Traditional appointment television has become increasingly difficult to sustain. Audiences now watch content on demand through players, recordings and streaming services — if they watch live TV at all. Viewership has also fragmented, with broadcasters competing not just against each other, but against social media, YouTube, gaming platforms and a constant flow of new content from global streaming giants.
In this crowded landscape, persuading viewers to tune in live is a major challenge. But certain types of programming still break through, most notably live sport. Part of sport’s appeal lies in experiencing events as they unfold, sharing the moment in real time and avoiding spoilers that quickly circulate online.
Successful unscripted formats replicate this effect. When a show becomes part of the cultural conversation, audiences feel compelled to watch live. Missing an episode can mean discovering who was eliminated or betrayed before having the chance to see it unfold, which undermines the experience. That urgency keeps viewers engaged week after week.
Shared viewing in a fragmented media world
Unscripted TV also taps into a sense of shared experience that many viewers feel has been lost. In the past, families often gathered to watch the same shows together. Today, viewing habits are more individualised, even within the same household.
Reality and entertainment formats offer a way to reconnect audiences, whether through watching together in the living room or reacting collectively via group chats and social media while a show airs. The enjoyment often extends beyond the screen, as viewers exchange commentary, jokes and opinions in real time.
Broadcasters are keenly aware of this dynamic. BBC chief content officer Kate Phillips has said that the desire to reach broad, cross-generational audiences was a key factor in reviving Gladiators, which also benefits from nostalgia among older viewers.
This shift has influenced the tone of modern reality TV. Earlier formats often relied on harsh criticism or humiliation as entertainment. In contrast, shows like Strictly Come Dancing and The Traitors are designed to be more inclusive and emotionally engaging, even when built around themes of competition, deception or elimination. This change also reflects lessons learned from the excesses and controversies of some early 2000s programming.
Clarity is another essential ingredient. The most successful formats are easy to understand, welcoming new viewers without a steep learning curve. They also lend themselves to short clips, memes and second-screen viewing, extending their reach across social platforms.
Beyond ratings: the business of TV formats
Unscripted formats are not just reliable ratings performers — they can also be major revenue generators. A successful format can be sold internationally, generating long-term income well beyond its original broadcast.
Strictly Come Dancing is a prime example. Owned by the BBC, it has been licensed to around 60 countries through BBC Studios, including Ireland, where it airs as Dancing with the Stars. The US version recently completed its 34th season and continues to draw millions of viewers, particularly among younger demographics prized by advertisers.
In many cases, however, broadcasters do not own the formats they air. In Ireland, for example, The Traitors is owned by production company Kite Entertainment, which pitched the show to RTÉ. While RTÉ does not control the format, it still benefits financially when the Irish version is sold abroad. The BBC has already acquired the Irish episodes for its own platforms, and similar international sales are expected.
These additional revenue streams are increasingly important, especially given the high cost of producing large-scale entertainment shows. New formats require substantial investment in sets, crews and logistics, making them inherently risky.
How producers manage costs and risk
To reduce that risk, broadcasters often adapt formats that have already proven successful in other markets. Product placement has also become more common, as seen in The Traitors and themed episodes of Dancing with the Stars in the US.
Co-productions and shared resources play a growing role too. When the BBC launched The Traitors, it partnered with NBC, with both the UK and US versions filmed at the same Scottish castle using shared sets. This approach allowed costs to be split across markets.
Some shows have taken this model even further. Total Wipeout, which ran in the UK for a decade, was filmed on a single obstacle-course set in Argentina used by around 40 international versions. ITV’s I’m A Celebrity follows a similar model by filming its various editions in Australia.
Ireland has also benefited from this global production ecosystem. Actor Rob Lowe recently revealed that his US game show The Floor is filmed in Ireland, citing lower production costs compared to Los Angeles. That incentive has increased following the introduction of a new Irish tax credit for unscripted TV, approved by the EU earlier this year, which can reduce production tax bills by up to €15 million.
Who dominates the global format market — and Ireland’s role
The Netherlands has emerged as a powerhouse in format creation, producing global hits such as Big Brother, The Voice, Deal or No Deal, The Traitors and The Floor. Britain has also exported numerous successful formats, including Bake Off, I’m A Celebrity, Gogglebox, Who Wants to Be a Millionaire and Strictly.
The US, despite its scale, has been less consistent at exporting formats internationally and has often struggled to produce the softer, more inclusive programming now in demand. Still, it has delivered notable global successes such as America’s Next Top Model, RuPaul’s Drag Race and The Apprentice.
Ireland, while smaller, has made its mark. The Lyrics Board, first broadcast on RTÉ in 1992, was sold to 25 countries, with Norway’s version still running today. More recently, Ireland’s Fittest Family, also produced by Kite Entertainment, has been adapted in several European and international markets.
However, local popularity does not guarantee global appeal. The Tommy Tiernan Show remains a ratings hit in Ireland, yet its unique “secret guest” format has so far failed to attract international buyers.
