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Reality TV has undergone plenty of changes in the last decade – from the end of stalwart Noughties shows, the much-needed emphasis on duty of care towards participants, and the genre’s pipeline to social media influencing.

Now Squid Game: The Challenge has landed on our screens and turned trusted formats upside down again.

Some 456 contestants from across the globe compete in children’s games based on Netflix‘s smash-hit South Korean thriller for a $4.56m jackpot (£3.64m) – thought to be the largest single cash prize ever in a television show.

Netflix's Squid Game: The Challenge Pic: Netflix
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Netflix’s Squid Game: The Challenge Pic: Netflix

From the start, the show proved controversial after three contestants received medical treatment after the game Red Light, Green Light was filmed in Bedfordshire during a cold snap in January.

Executive producer Tim Harcourt, creative director at Studio Lambert, said the team had taken “all the appropriate measures” before filming.

“Some people anonymously were disgruntled and annoyed that they had spent a lot of time playing that game in the cold and then were eliminated. And that’s understandable.”

But he says the challenging conditions were to be expected with such a massive jackpot.

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“It is $4.56 million and Netflix is never just going to give that away easily.”

And with such a massive prize comes massive responsibility for the producers.

John Hay, chief executive of The Garden production company, said the team was “absolutely scrupulous – doubly so, given the size of the prize, about judging who moved and who hadn’t [in the Red Light, Green Light game].

“We had a whole team of adjudicators behind the scenes,” he said.

The Red Light, Green Light game Pic: Netflix
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The Red Light, Green Light game Pic: Netflix

“These were people independent of us from a different company, trained lawyers, who would check those movements and we had those people with us all the way through the entire series.”

Hay said the jackpot prize was one of the most significant decisions that Netflix made about the show because “it just flips the whole thing”.

“Instead of being driven by the fear of death, it’s driven by the sort of scale of this opportunity.

“It turns out that’s just as powerful a motor for stories as in the drama. The people who went into that set lived in these six soundstages. The ones who made it to the finals were there for 16 days.

“They were chasing this huge prize. It felt like the stakes felt suitably high. And I think that drove some of the reactions to it in the course of the game,” Hay said.

The contestants' dorm Pic: Netflix
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The contestants’ dorm Pic: Netflix

And those reactions were sometimes powerful. The show feels more extreme and more challenging than any recent reality show game. One contestant appeared to be close to vomiting from the pressure of making a decision that would ultimately lead to his elimination.

“We had to accept that that immersion [in the game] would put people under quite a lot of pressure and it could be stressful. And that’s something that we would talk about [with contestants],” Harcourt said.

“We really take care as they exit the game to chat to them and allow them to process everything that they felt and to realise that it’s all fine now and that was a game and they were playing under pressure.

“Those are conversations that continue with the contributors not just straight after the game, but six months after,” Harcourt said, adding that the show’s welfare team is in touch with the contestants now as the show is airing.

A scene from Squid Game: The Challenge Pic: Netflix
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A scene from Squid Game: The Challenge Pic: Netflix

Squid Game remains the most popular Netflix series of all time and was streamed by 111 million users in the first 28 days after its release in September 2021.

Hay, whose company The Garden has created shows such as 24 Hours in A&E and Emergency, said Squid Game’s success was both a blessing and a burden.

“Starting from a drama as brilliant and as successful as Squid Game is a huge head start in that there’s already a huge number of people interested and it’s very unusual in being a drama that’s based around a game.

“It’s an ingeniously designed game. There’s a real singularity and originality of the vision in the drama. There’s a world [with] a very distinctive sort of tone and visual style.

“But in another sense, it sets the bar unbelievably high. We knew that we had to match the world. We had to play in the spirit of the game.”

The number of contestants was also a huge logistical challenge. More than 80,000 people applied to be on the show with Hay saying it was a “mammoth task” to whittle it down to just 456 contestants.

“Of course, without a script, we had to find ways of creating the conditions in which some of those dynamics [of the drama] could play out without being able to actually know who our heroes were from the start and then write their storylines,” Hay said.

Netflix's Squid Game: The Challenge Pic: Netflix
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Netflix’s Squid Game: The Challenge Pic: Netflix

Harcourt, who has produced other reality shows including The Traitors, The Circle and Naked Attraction, said filming the 456 contestants was “the biggest creative challenge” of the show.

Another challenge was how to eliminate people from the game. In the drama, contestants are immediately killed which led to some creative discussions as to how to adapt it for the reality TV show.

“Quite early on we came upon the idea of the dye pack, which is something that every contestant wore underneath their white t-shirt,” Harcourt said.

“We arrived at black ink. There was a taste issue with blood.”

“We went through a lot of testing to get the dye colour right, the type of dye right. Even the nozzle that sprays the ink out through their T-shirt had to have such a force that it would actually show on that T-shirt and also that they would actually feel it go off so that everybody knew that they were out of the game.”

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So is this new kind of supersized reality TV show with massive stakes the future? Maybe, Harcourt and Hay said.

“I definitely think there will be these big reality shows that broadcasters or streamers will undertake,” Harcourt said.

“Unscripted television is still cheaper to make than some dramas and it can call in just as big an audience when it’s done brilliantly and it’s successful and the audience love it.

“So I don’t think we’re about to see a spate of 100 of these shows being made. But I think that some of these shows that feel bigger in execution and maybe bigger in concept will become a trend.”

Squid Game: The Challenge is on Netflix from today

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Mountainhead: Succession writer Jesse Armstrong’s new film takes aim at tech billionaires

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Mountainhead: Succession writer Jesse Armstrong's new film takes aim at tech billionaires

Succession writer Jesse Armstrong says he hopes his new film about toxic tech billionaires can be a receptacle for anyone who is “feeling wonky about the world”.

Now making his film directorial debut with Mountainhead, starring Steve Carell and Jason Schwartzman, Armstrong has shifted his focus from cut-throat media moguls to a group of billionaire friends meeting up to compare bank balances against the backdrop of a rolling international crisis they appear to have stoked.

Speaking to Sky News about the project, he said: “For a little while I poured some of my anxieties and feelings into it… and I hope it can be a receptacle for other people if they’re feeling wonky about the world, maybe this can be somewhere they put some of their anxieties for a while.”

Cory Michael Smith (R) plays Venis in Mountainhead. Pic: Mountainhead/HBO
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Cory Michael Smith (R) plays Venis in Mountainhead. Pic: Mountainhead/HBO


Jesse Armstrong with Ramy Youssef. Pic: Mountainhead/HBO
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Jesse Armstrong with Ramy Youssef. Pic: Mountainhead/HBO


Few television writers achieve widespread recognition beyond their work, but Armstrong – the man behind Succession, one of the most critically acclaimed TV shows of the past decade – has become a household name and is today one of the world’s hottest properties in high-end drama.

“If there was more self-reflection and self-knowledge, there probably wouldn’t be such amenable targets for comedy and satire,” he admits.

Long before he gifted viewers with the likes of manipulative Logan Roy and sycophantically ambitious Tom Wambsgans, back in the beginning, there was selfish slacker Jez and the perennially insecure Mark on his breakthrough hit Peep Show.

“I love comedy, you know, it’s my way in,” he explains. “I think I like it because… the mixture that you get of tragedy and absurdity strikes me as a sort of a true portrayal of the world… and I just like jokes, you know, that’s probably the basic reason.”

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After putting his pen down on the finale of Succession, walking away with 19 Emmys and nine Golden Globes, attention was always going to be drawn to what Armstrong did next.

“I had a couple of other things that I thought I would write first and this kind of snuck up on me as an area of interest,” Armstrong says.

“After I’d listened to a bunch of tech podcasts and Ted talks, I sort of needed somewhere to put the tone of voice that was increasingly in my head.”

Tapping into the unease surrounding big tech, he wrote, shot and edited Mountainhead in less than six months.

Jesse Armstrong
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Jesse Armstrong says the film’s theme ‘snuck up on me as an area of interest’

Capturing the audience mood

Explaining why he worked so fast, he said he “wanted to be in the same sort of mood as my audience, if possible”.

While he insists there aren’t “any direct map-ons” to the billionaire tech moguls, which frequently make headlines in real life, he joked he’s “happy… to play a game of ‘where did I steal what from who?'” with viewers.

“You know… Elon Musk… I think at least people would see some Mark Zuckerberg and, I don’t know, some Sam Altman, there is a bunch of those people in all the [film’s] different characters… and we’ve stolen liberally from the world in terms of the stories we’ve given them.”

Steve Carell is tasked with delivering some of the film’s most memorable lines as the satire explores the dynamic between those holding the power and those pulling the strings.

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Lack of self-knowledge ‘good for comedy’

“People who lack a certain degree of self-knowledge are good for comedy….and if there was more self-reflection and self-knowledge, there probably wouldn’t be such amenable targets for comedy and satire.

“You know, living in a gated community and travelling by private jet certainly doesn’t help you to understand what life is like for most people.”

Armstrong’s gift for using humour to savagely dramatic ends is arguably what makes him one of the most sought-after writers working today.

Behind his ability to craft some of the sharpest and scathing dialogue on our screens, he views what he does as more than getting a laugh.

“I do believe in the sort of nobility of the idea, that this is a good way to portray the world because this is how it feels a lot of the time.”

Mountainhead will air on Sky and streaming service NOW on 1 June.

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Taylor Swift buys back rights to all master recordings – but it’s bad news for Reputation fans

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Taylor Swift buys back rights to all master recordings - but it's bad news for Reputation fans

Taylor Swift has bought back all the rights to her master recordings – but has suggested she won’t be re-releasing her Reputation album.

“All the music I’ve ever made now belongs to me,” the star announced on her official website.

“I’ve been bursting tears of joy… ever since I found out this is really happening.”

The pop star had originally lost the rights to her first six albums in 2019 when her first record label, Big Machine, sold them to music executive Scooter Braun.

After she learned Braun had acquired her musical catalogue, she opened up about it in a lengthy Tumblr post, blaming him for being complicit in Kanye West’s “incessant, manipulative bullying” of her.

Swift said she was not given the opportunity to buy her work outright, and so, in a bid to diminish the value of the master tapes, she set about re-recording them.

Taylor Swift's back catalogue has been sold on by Scooter Braun
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Taylor Swift’s back catalogue was eventually sold on by Scooter Braun

She had re-released four “Taylor’s Version” albums to date. Just her self-titled debut album and Reputation remained.

Braun later sold his stake in her albums to Shamrock Holdings, a Los Angeles investment fund, in a deal reported to be worth £222 million.

It is not known how much Swift paid Shamrock to re-acquire the rights to her songs.

Swift said she was “forever grateful” to Shamrock for allowing her to buy the rights to her music back.

“This was a business deal to them, but I really felt like they saw it for what it was to me: My memories and my sweat and my handwriting and my decades of dreams,” Swift wrote on her website.

“I am endlessly thankful. My first tattoo might just be a huge shamrock in the middle of my forehead.”

What it means for Reputation fans

Just two albums remained to be re-released by Swift – her self-titled debut album and Reputation. The latter was a particularly strong source of speculation among fans, who would look for clues in her outfits during her record-breaking Era’s tour.

But this announcement could spell the end of that.

“Full transparency: I haven’t even re-recorded a quarter of it,” Swift said.

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Prince William spotted ‘dad dancing’ at Taylor Swift’s Wembley concert in 2024.

She said Reputation was “so specific” to a certain time in her life, that she kept hitting a block when she tried to re-record it. She also said she felt it was the first album she could not improve by re-recording it.

Debut has been re-recorded, with Swift saying she “loves how it sounds now”.

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But both albums could still “re-emerge when the time is right”, particularly the unreleased tracks.

“If it happens, it won’t be from a place of sadness and longing for what I wish I could have,” Swift said.

How Swift’s stance changed the music industry

In the music industry, the owner of a master controls all rights to their artists’ recordings. This is usually agreed in contracts with artists, and allows them to recoup the financial investment they make in stars, including funding production, marketing and promotion.

It also means they can distribute it to new streaming services or license the songs to be used in movies.

Wow. Quite literally the lady in red - and the big winner of last year - Taylor Swift. Pic: AP
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Pic: AP

Swift, as co-writer of her music, had always maintained publishing rights.

“I do want my music to live on. I do want it to be in movies. I do want it to be in commercials. But I only want that if I own it,” she told Billboard in 2019.

Swift said today she had been “heartened by the conversations this saga had reignited within my industry among artists and fans”.

“Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this right, I’m reminded of how important it was for all of this to happen.”

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Russell Brand: Comedian and actor pleads not guilty to rape and sexual assault charges

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Russell Brand: Comedian and actor pleads not guilty to rape and sexual assault charges

Russell Brand has pleaded not guilty to rape and sexual assault charges as he appeared in court in London.

The British comedian and actor, from Hambleden in Buckinghamshire, was charged by post last month with one count each of rape, indecent assault and oral rape as well as two counts of sexual assault.

The charges relate to alleged incidents involving four separate women between 1999 and 2005.

The 49-year-old, who has been living in the US, was flanked by two officers as he pleaded not guilty to all the charges at Southwark Crown Court today.

Russell Brand appears at Southwark Crown Court.
Pic: Reuters
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Russell Brand appears at Southwark Crown Court. Pic: Reuters

Brand stood completely still and looked straight ahead as he delivered his pleas.

The comedian, who has consistently denied having non-consensual sex since allegations were first aired two years ago, is due to stand trial in June 2026.

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Russell Brand arrives in court
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Russell Brand arrives at Southwark Crown Court on Friday

He previously told his 11.2 million followers on X that he welcomed the opportunity to prove his innocence.

The allegations were first made in a joint investigation by The Sunday Times, The Times and Channel 4 Dispatches in September 2023.

As Friday’s hearing finished, Brand replaced his sunglasses before exiting the dock and calmly walking past reporters.

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