Eight years after its finale, The X Factor is reportedly gearing up for a return, but the process is already embroiled in disputes between creator Simon Cowell's team and broadcaster ITV. Insiders suggest that ongoing negotiations over the show's budget and format are generating as much drama as the competition itself once did.
Central to the conflict is the fee ITV will pay to broadcast the show, with a portion of that sum going to Cowell, who holds ownership of the format and final say on its production. This financial disagreement has reportedly led to a public relations battle, with unsubstantiated claims being spread about the performance of ITV's other singing competition, The Voice. The aim, sources say, is to inflate the perceived value and cost of The X Factor by undermining its rival.
The Voice, which moved to ITV in 2017, has been a persistent competitor. When The X Factor premiered in 2004, it was a ratings powerhouse, drawing millions of viewers at its peak. The 2010 final, which saw Matt Cardle crowned winner, attracted 19.4 million viewers. In contrast, The Voice's recent Saturday night debut garnered a peak audience of 2.5 million, a figure considered respectable for current terrestrial television but significantly lower than The X Factor's historical numbers.
Another point of contention is the move of former X Factor judge Cheryl Tweedy to The Voice. Her recruitment by the rival show deprives The X Factor of a popular mentor for its upcoming series, which is slated to begin filming this month. Despite her time away from the spotlight, Cheryl is described as a "national treasure" whose presence is highly valued.
While past seasons of The X Factor commanded substantial budgets, with reports of individual judge salaries reaching £1.5 million and even £10 million for celebrity couples like Robbie Williams and Ayda Field, the financial landscape for broadcasters has shifted. ITV, like other terrestrial channels, is facing financial pressures that necessitate cost reductions. Estimates suggest that production costs for the new series could be significantly lower than in previous years, potentially half of the original sums.
Cowell, however, is reportedly unwilling to compromise on the show's quality. Sources close to him emphasize his perfectionism and pride, stating that if the comeback is not executed to his standards, it will not proceed. This stance creates a dilemma for ITV, which needs to find a way to finance a high-quality production despite its financial constraints.
Potential solutions being discussed include reducing the number of live shows in favor of more cost-effective pre-recorded room auditions. Discussions are also underway to adapt the format to appeal to younger audiences who may not typically watch traditional Saturday night television. Ideas such as incorporating more controversial moments that can be shared on social media have been suggested.
Cowell himself is reportedly not seeking a central judging role for the revival, preferring to focus on other projects, including a potential second Netflix series. However, his experience with the Netflix show "Simon Cowell: The Next Act," which launched the boyband December 10, has reportedly convinced him that genuine talent can still be discovered through such formats. He may still play a role in shaping the show, drawing on his insights into appealing to younger demographics.
The success of The X Factor in launching global stars like Leona Lewis, One Direction, and Little Mix is a point of pride for Cowell. The concern is that a stripped-down, lower-budget version could undermine the legacy of the original show. The X Factor originally launched in 2004 with judges Cowell, Sharon Osbourne, and Louis Walsh. Winners and runners-up often secured deals with Cowell's record label, Syco Music, leading to significant international success for many artists discovered on the show.