Case study: The International Success of Betipul

In television, the global success of a format often hinges on a delicate interplay of cultural dynamics and strategic partnerships. A prime example is the Israeli television series "BeTipul," whose international journey, as detailed by Nahuel Ribke in his insightful article "Global maladies, local in treatment: 'quality' TV fiction formats, glocal forms of prestige, and cumulative cross-cultural dialogues" (2016), sheds light on the complexities of quality television in a global context.

At the heart of BeTipul's triumph is its unique position as a non-American format that garnered an essential endorsement from the prestigious American network HBO. The U.S. adaptation, titled "In Treatment" – not only provided global visibility to the format but also opened doors for other Israeli dramas and non-scripted formats in the international media markets. Ribke's exploration of BeTipul's global journey challenges the conventional wisdom that global adaptations necessarily entail radical transformations of the original content.

Dori Media Group has been a pivotal player in the format’s distribution. Notably, the group played a crucial role in the Argentinian adaptation of the format, underscoring its significance in the format's international journey. The adaptation, titled "En Terapia," became a testament to the format's adaptability and resonance with diverse cultural contexts.

The success of BeTipul hinges on the delicate balance between its non-American origin and its proximity to the influential U.S. media industry. The U.S. version acted as both a catalyst for global recognition and a source of inspiration for subsequent local adaptations. Ribke's analysis of BeTipul's intricate relationship with cultural dynamics challenges the traditional narrative of a unilateral flow of influence in global television.

Informal networks and cultural predispositions played a vital role in BeTipul's success in the U.S. market. The series' creator, Hagai Levi, and Israeli actress Noa Tishby navigated these networks, emphasizing the importance of cultural affinity in transcending borders. The perceived "compatibility" between Israeli and American cultures, amplified by influential figures like Ari Emanuel, facilitated the format's entry into the U.S. television industry. The series' global branding as a quality format was propelled by the promotion of Hagai Levi as a "unique genius,". This branding, coupled with the series' universal themes and specific local adaptations, allowed BeTipul to strike a chord with audiences worldwide. The format's dialogues with different cultures, including its adaptation in Argentina, Brazil, Canada, and Italy, showcase the nuanced interplay between global and local factors.

To a considerable extent, various adaptations differed significantly from the original format. Take, for example, the Brazilian version, Sess?o de Terapia, which surpassed the original's two-season span, extending to a total of five seasons. Notably, the latter three seasons introduced entirely original Brazilian narratives. Conversely, in the Japanese adaptation titled 心療中 "In the Room," the storyline shifted gears as it portrayed a high school counselor tending to students, a departure from the format's typical focus on adult patients.

In a realm where game shows and reality formats are often perceived as neutral and easily transplanted, BeTipul stands out as a quality fiction format deeply influenced by its original production and subsequent global adaptations. Ribke's exploration of the cumulative cross-cultural dialogue among various versions adds a layer of complexity, where each adaptation becomes both an endorsement and a subject of comparison.

BeTipul's journey reflects the intricate dance between cultural nuances, international partnerships, and the evolving dynamics of quality television. As the television industry continues to navigate the global landscape, BeTipul's success story, detailed by Ribke, serves as a compelling case study, highlighting the multifaceted nature of television formats in an increasingly interconnected world.

Reference: Ribke, N. (2016). Global maladies, local in treatment: “quality” TV fiction formats, glocal forms of prestige, and cumulative cross-cultural dialogues. International Journal of Communication, 10, 18

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