Production
Popstars The Rivals drew on the success of the first series of Popstars, which aired during the winter months of 2000 and 2001, and Pop Idol, which aired in the winter months of 2001–2002. Popstars resulted in the formation of one winning pop group, Hear’Say, who was selected solely by the judges, but Pop Idol made extensive use of viewer interactivity with the home audience voting for their favourite act to win the competition either via the show's official website or by calling premium-rate telephone numbers. In the months since Popstars finished, the five runners-up of the show had formed their own group, Liberty X, and were enjoying more commercial success than Hear’Say. The British media had also begun to create a rivalry between the two groups.
The Popstars producers drew upon this rivalry for Popstars: The Rivals to create two winning pop groups, a boy band and a girl group, in a "battle of the sexes", to vie for the Christmas Number One spot in the UK Singles Chart, a traditionally competitive time in the British music market. To further the rivalry, members of the public were to select who would remain in the show by voting for their favourite acts using premium-rate telephone numbers, text messaging, via the Popstars website, and with the Red Button on digital television remote controls. Each week, the singer with the fewest public votes would be eliminated from the competition until five males and five females remained, who would then form the two rival groups. Elements of Channel 4's Big Brother, which aired during the summer months since 2000, were used in Popstars: The Rivals when the final ten boys and final ten girls moved into two houses and lived together, watched by television cameras.
Read more about this topic: Popstars: The Rivals
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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