These concepts reflect a desire on the part of audiences to see themselves at the heart of the action, to actively engage rather than passively consume. Shows that can authentically offer viewer participation will reap the rewards, according to Neil Crombie of TV production company Swan Films. Crombie is executive producer of Grayson’s Art Club, an arts show conceived for lockdown for the British broadcaster Channel 4. The show ditched the traditional format of expert art critics dispensing wisdom and instead created a collective, meaningful experience for the nation.
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In a run of six shows, viewers submitted artworks on a theme proposed by contemporary artist and presenter Grayson Perry, who conducted Zoom chats with the artists to hear the stories behind their work. Crombie, speaking at a recent CogX festival panel, said that the show was “radically empowering for the audience” who embraced the participation element, and that the concept “has energized and revitalized what the whole proposition of an arts programme is.”

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Bulletproof the Interrogation borrows heavily from gaming, and content creators are increasingly looking to fuse the thrill of the gaming experience into traditional entertainment mediums. UK startup Maze Theory is currently developing an interactive gamescape based on the hit BBC TV drama Peaky Blinders. Players will be able to enter a meticulous recreation of the world of the Shelby crime syndicate, infiltrating their circle, earning their trust and helping them defeat a rival gang. Peaky Blinders: The Kings Ransom promises ‘humanlike’ interactions, made possible through advanced AI technology which will allow characters to respond in real-time to players’ words, gestures and body language.

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