• Can shows now do more than sing and dance? 

As ‘MasterChef Sri Lanka’ approaches its final stages, it has left audiences across the country, and beyond, with more than just memorable dishes and dramatic eliminations. It has sparked a larger question about the future of Sri Lankan television: are we finally ready for more diverse formats of reality TV? 

For an industry that has long relied on a narrow range of programming, the success of ‘MasterChef’ may signal a turning point, one that challenges both producers and audiences to rethink what local television can look like. 

The global reality TV stage

For years, Sri Lanka’s reality television landscape has been dominated by a single model: the talent search format. 

Shows centred around singing, dancing, or performance, variations of ‘The X Factor,’ ‘American Idol,’ or ‘Got Talent’ have formed the backbone of local programming. While these formats have proven popular and commercially viable, they represent only a small slice of what reality television has to offer globally.

In contrast, international markets have developed a wide and varied ecosystem of reality TV. At one end are competition and game shows, such as ‘Survivor’ or ‘The Traitors,’ where contestants rely on strategy, endurance, and social gameplay. These shows go beyond skill, exploring alliances, betrayal, and human behaviour under pressure. ‘MasterChef’ itself fits into this category, though it leans heavily on culinary skill and storytelling rather than social manipulation.

Another major category is dating and relationship-based reality television, including globally popular formats like ‘Love Island’ and ‘Love is Blind’. These shows thrive on interpersonal dynamics, emotional vulnerability, and high-stakes romantic tension. They are particularly popular among younger audiences, driven by social media engagement and real-time audience interaction.

There are also docusoaps and slice-of-life programmes, such as ‘Selling Sunset’ or ‘The Real Housewives,’ which follow individuals navigating their personal and professional lives. These shows blur the line between documentary and entertainment, offering viewers a curated glimpse into aspirational lifestyles or niche communities.

Makeover and transformation shows, like ‘Queer Eye,’ focus on personal growth and emotional journeys, often combining entertainment with social commentary. Social experiment formats, including ‘Big Brother,’ place individuals in controlled environments to observe relationships and conflict. Meanwhile, lifestyle and documentary-style reality shows explore specific skills, professions, or ways of living, often with a more educational tone.

Has Sri Lanka reached a turning point?

In Sri Lanka, however, these categories remain largely unexplored. As noted in conversations around ‘MasterChef,’ the industry has only recently begun to step outside the talent show model, raising the question of why this diversification has taken so long, and whether the conditions are now right for change.

Television creator Chinthana Dharmadasa believes the issue is not audience readiness, but industry hesitation. “Of course, Sri Lankan audiences are ready,” he said. “But I am not sure if television producers are ready, because of the budgets. And we have to bring a different, younger audience back to television, who have now almost abandoned it.”

Budget constraints remain one of the most significant barriers to innovation. Producing high-quality international formats requires substantial investment, far more than traditional talent shows. This includes licensing fees, production design, technical expertise, and often, a larger production crew. The financial pressure to recover these costs can result in heavy reliance on sponsorships and advertising.

This was evident in ‘MasterChef Sri Lanka,’ which faced criticism for the volume of product placement and advertisements embedded within episodes. While many viewers understood the necessity of such sponsorships, it also highlighted the challenges of balancing commercial viability with viewer experience.

For Shavindi Warnapura, who watches the show from abroad, the appeal of ‘MasterChef’ extends beyond entertainment. “For many Sri Lankans living away from home, watching the show is a way to connect with home and feel part of a community,” she explained. “It feels like we’re back home.” She also noted that the show had improved significantly over time, evolving into what she described as “a cult hit among youth”.

However, she echoed concerns about the viewing experience. “I understand the need for advertising – it must be expensive to produce a show like this – but it can be quite distracting,” she noted. 

Warnapura added that while formats like ‘The Great British Bake Off’ may offer a more relaxed structure, she appreciated the ambition behind ‘MasterChef Sri Lanka’. “I’m glad someone attempted it, and hopefully it leads to more diverse reality shows entering the market.”

Making Lankan reality TV accessible

Beyond production costs, another key factor shaping the future of reality TV in Sri Lanka is the changing nature of audiences. Traditional television is no longer the dominant medium it once was, particularly among younger viewers.

“I don’t even have a TV in my house,” shared Suraj Iqbal. “We stream everything. My parents just connect their phones and watch YouTube.” His experience reflects a broader shift towards digital consumption. “People are definitely not watching as much TV anymore,” he added. “If content isn’t easily accessible online, you miss out on a large part of the market.”

This shift raises important questions about how success is measured. Traditional TV ratings may no longer capture the full picture of a show’s reach or impact. Instead, audiences are fragmented across platforms – television, YouTube, streaming services, and social media.

TV director Risinu Gamlath, whose recent credits include ‘MasterChef Sri Lanka,’ emphasised this evolving landscape. 

“What ‘MasterChef Sri Lanka’ taught us is that television ratings alone no longer tell the full story,” he said. “Our TV ratings have been really strong, which we are incredibly proud of. But beyond that, a significant portion of our audience was Sri Lankan expats watching online from around the world, and a strong wave of younger viewers tuning in through YouTube.”

This cross-platform engagement, he explained, was shaping how producers thought about future content. “Any new format we bring to Sri Lanka will need to work not just on traditional TV, but across digital platforms to truly capture the full audience.”

Gamlath is also optimistic about the potential for diversification. “The success of ‘MasterChef Sri Lanka’ has shown that local audiences are ready for high-quality international formats,” he said. “We’re actively exploring opportunities to bring more franchises to Sri Lanka; formats like ‘Survivor,’ ‘Big Brother,’ or ‘Deal or No Deal’ would each bring something unique.”

When it comes to more culturally sensitive formats, such as ‘Love Island,’ he acknowledged the need for careful adaptation. “It’s something I would love to bring here one day,” he said. “But it requires thoughtful planning to ensure it resonates with our culture and values. Sri Lankan society is evolving, and with the right approach, it could be something truly special.”

Cultural adaptation remains a critical consideration in this conversation. Not all global formats can be directly transplanted into the Sri Lankan context without modification. Shows that rely heavily on overt displays of intimacy or conflict may need to be reimagined to align with local sensibilities.

However, international examples suggest that this is not an insurmountable challenge. Countries like South Korea and Japan have successfully adapted reality TV formats by incorporating their own cultural norms and storytelling styles. These adaptations often prioritise emotional nuance, character development, and subtle interpersonal dynamics over sensationalism.

Sri Lanka, too, has the potential to develop its own hybrid formats, drawing inspiration from global trends while remaining rooted in local culture. This could open the door to a new generation of reality TV that feels both fresh and familiar.

Ultimately, the question is not whether Sri Lanka is ready for more diverse reality TV formats. By most accounts, the audience is more than ready. The success of ‘MasterChef Sri Lanka’ has demonstrated a clear appetite for innovation, storytelling, and higher production value.

The real challenge lies with the industry itself – its willingness to invest, to experiment, and to adapt to a rapidly changing media environment. This includes rethinking traditional funding models, embracing digital platforms, and prioritising audience experience alongside commercial viability.

As the Sri Lankan television landscape continues to evolve, the success of ‘MasterChef’ may well be remembered as a turning point, a moment when the industry began to look beyond its established formulas and imagine new possibilities.

“It’s an exciting time for reality TV here,” Gamlath reflected. “And we’re just getting started.”

If that momentum continues, Sri Lankan audiences may soon find themselves tuning into a far more diverse and dynamic range of reality television, one that reflects not only global trends, but the unique stories, values, and aspirations of the island itself.