After several years of absence, Interviles Return on television. The cult program imagined by Guy Lux, this time relaunched by Nagui to production and presentation, returns live in France 2 from Thursday, July 3. Two French cities will compete there as in the great moment, in a festive and good atmosphere.
This expected return from the program’s fans illustrates a trend that continues to gain impulse in the audiovisual panorama: that of the resurrection of the old worship programs on television.
In recent months, channels have been involved in a real nostalgia operation. Tf1 revived the Star Academy AND Secret history While M6 left flags of the 90-2000 as the Only priceof Weak link, of That the best wins either The Wheel of Fortune
For your part RMC Story (a subsidiary of the RMC BFM group) presented The bigdil Up to date. Even the platforms surf in this wave, like a video premium that relaunched at the end of 2024, the M6 Telecchet, Pop stars.
“Doubtful” shows to reassure
This multiplication of old shows owes nothing to chance. According to Maxime Guyny, a journalist who specializes in television news, the return of these worship programs in the programs programs reflects a strategy by the channels and broadcasters to bet on comforting formats in a social context that improves anxiety.
“On television, everything is cyclical and what the machine relapsed is the return of the ‘Star Academy’ three years ago,” said the specialist interviewed by BFMTV.com.
“Since then, producers have sailed on the concept of tender emissions: programs that provide a feeling of comfort and nostalgia because they remember a simpler, when we were well in our lives, a kind of Madeleine de Proust.”
And to optimize the success of these emissions in the air, the channels try to preserve as much as possible the elements that have popularity for these programs. There Star Academy EITHER Secret history They have thus found their cult genets, while The bigdil Bring his emblematic pet, the extraterrestrial bill, still embodied by Gilles Vautier and his emblematic host Vincent Lagaf ‘. The correct price, He has maintained some of his mythical evidence, such as the famous Tiroleo or the Fakir.
“All the revales that are successful today are those in which the ingredients of the time, the same images, the same generic, the same mechanics have been preserved. This is what makes success,” said Maxime Guyny.
Seduce a new generation
However, these new versions are not content to be a simple copy paste of the original emissions. These cult formats are obtaining facial stretching, are dusty and modernized to be “more in line with current expectations and seduce the new generation,” says Maxime Guyny.
In m6 the reins of The Wheel of Fortune and Only price They have been entrusted to a new face, the host Eric Antoine and the game games, considered poticities at that time, have now disappeared to adapt to social developments.
In its new version, Interviles It also ignores its famous cows, originally used to bite the candidate events, replaced by a luxurious pet, while TF1 has adapted to modern uses of the screens by offering fans of the fans of the Star Academy either Secret history Follow the Live program almost 24 hours a day through its application TF1+.
And these settings bear fruit for television channels. When it was launched last January, Bigdil seduced 1.8 million viewers, turning RMC Story into the first national channel into an audience of audiences greater than 25 to 49 years with 21.3%.
“These are exceptional audiences in young objectives. It is not only an extremely strategic advertising objective, but rejuvenates the chain,” says Maxime Guyny.
According to the specialist, this success with younger people is explained in particular for cultural broadcast between generations, with parents who share their television memories with their children.
“There is a certain fascination on the part of the new generation compared to these old programs that they did not know. These spectators who had not necessarily could see these programs at that time because they were too young, discover them through their parents or through extracts in social networks …”, specifies Maxime Gely.
Towards the lack of innovation on television?
For channels, relaunching a cult program, therefore, seems to be “gold in the bar.” “From an aspect of marketing, the program has an immediate resonance in the viewer’s mind, so it is much simpler for the chains than to start from a white brand.”
But in the long term, this strategy has a counterpart: by force of bets on safe values and already known formats, the channels leave little space for innovation and unpublished games.
“Creativity is less visible on television today because some programs have been working for years. Why replace the ’12 lunchtches?
“The majority of the creative wave is now found mainly on social networks: YouTube, Twitch, Tiktok and on Netflix platforms, Premium video …”, adds the journalist.
And even if a chain is trying to launch an original format, success is not necessarily guaranteed. “In ten programs launched, only one or two manage to find their audience,” recalls Maxime Guény. “Even in international markets such as the Mipcom in Cannes, the new concepts capable of exporting massively as ‘The Voice’ or ‘France has an incredible talent,’ does not direct the streets.”
If nostalgia appeals to television channels today, therefore, it could slow down the emergence of tomorrow’s formats in the programs. It remains to be seen if the small screen will find your creative audacity or if you are condemned to recycle your own successes indefinitely.
“Here we will reach the end of the cycle because all emissions will have emerged,” analyzes Maxime Guény. “The next step is to find a wave of creativity within the programs that are already in place and then, it will be the return of the return of the program we know.”
Source: BFM TV
