ABSTRACT
In this chapter the recent hit UK format Love Island is analysed to show the evolution of the “reality” entertainment format from a range of existing factual and entertainment forms. The impact of satellite and cable channels, like HBO and Sky, on the audiences for the broadcast networks brought a search for low cost, popular alternatives to expensive drama series and sitcoms at prime time. The creation of an independent production sector in the UK at this time provided US networks with an alternative to the Hollywood studios as a source of content, and early hits like Who Wants to Be a Millionaire, Pop Idol and Big Brother established the UK industry as a key global supplier of this new dominant design. Changes in US regulations, particularly the end of the fin-syn rules, enabled the formation of global conglomerates incorporating US networks, Hollywood studios and cable channels. Many UK “independents” were quickly acquired by these conglomerates as a route into the publicly funded UK market and a source of formats which can be exploited in global markets. The production of formats adopted new technologies of hand-held and CCTV cameras and digital editing to enable multitasking by producers, performing a range of previously separate functions. But the incorporation of variety and game show elements has moved reality formats like Love Island into large scale productions, with large crews and clearer division of labour.
