📝 Open feedback thread to Big Brother Producers, Endemol Shine Australia and Network Ten

[dasnico]

Okay. Firstly, I apologise for the long post. I was going to wait until closer to the end of the season to create this thread, but after seeing certain repetitive feedback trends scattered throughout posts on these threads, I figured now would be a good time to start this while the boards are receiving their peak viewership and interaction while the season is still running. This should be the place where constructive feedback and/or criticism should be posted so it’s all in one place if and when members of the production team refer to this forum. If you haven’t already done so, I encourage you to participate in the Performance Review Thread by @Brekkie. I also ask that mods consider pinning this thread for the remainder of the season for maximum views and interaction if they see it fit.

I penned this quasi-letter to ESA, Ten and the producers about a week ago and sent it into the email addresses of producers I was able to deduce without credits being shown at the end of each episode. No reply, which was expected. In hindsight, there’s other points I would’ve made now the season has progressed and there’s numerous things I would’ve highlighted or changed. Nevertheless, I’m including my original letter quoted below. I invite and encourage any and all members to post their professionally written and concise feedback here, even if you’ve made them elsewhere on the boards. It doesn’t need to be a formal letter, just written politely. Whether it’s that you love the reboot and would change nothing, or if you’re legitimately disappointed in what this reboot is providing viewers.

We’re all here because we love Big Brother Australia. I started watching originally during season 4 and was hooked and quickly caught up on what I'd missed from 1-3. I can honestly say Big Brother Australia just absolutely did it better than any other English-speaking version of the format running around the world, including Big Brother UK’s original running on Channel 4, which is also a personal favourite. ITV's tripe is a subject for a different thread.

If you’ve read any of my other posts you’ll know my thoughts on what we’re getting currently. Ten and Endemol launched this show in Australia in 2001 and absolutely nailed it (mostly) for the better part of eight seasons. Channel 9 gave it a fair shot and I can honestly say, at least for me, the 2013-2014 season was pretty damn good. There is core DNA that the show must retain to keep it relevant, entertaining and true to itself, otherwise what’s the point? I was so excited to see Ten want to bring it back, and while it’s lightyears better than the garb Channel 7 served up, I must say I’m disappointed so far. Whether it’s Endemol Shine Australia failing to differentiate modernising and improving, or if it’s them thinking modern audiences can’t digest the true OG format, I’m not sure.

I find it hard to believe this is a trial run series to test the waters as many suggest. Ten have signed a contract to produce this show for x seasons (I believe a minimum of three). As Endemol owns and produces the show it concerns me that what we’re seeing is now the blueprint for future iterations. I don’t doubt a smaller budget and certain restrictions like the house location have played a part in how this current blueprint was made. While ratings are good right now and that bodes well for another (hopefully longer) season next year, I do not want Ten and ESA to think this is acceptable. What we’re getting is passable at the very most, but their viewing figures will begin to wane if they don’t make a solid effort to return to the OG format Ten promised and successfully promoted in the campaign leading up to now. The OG format can and will work well in the modern era with only slight adjustments. Their social media team have proven that time and time again since the season started. New and younger viewers will likely really only be familiar with 7’s version, and while they may be enjoying 2025 so far, I think Big Brother actually returning to its roots will blow them away. I will politely call out Sarah Thornton and Jonathon Summerhayes here – this reboot is not it. I expected more from Jonathon Summerhayes. He was involved with Big Brother from Season 1 to Season 7. He knows what Big Brother can and should be. I also believe a large part of the production staff this season are likely from Love Island, MAFS, et al, and that’s the only format structure they know. Nothing lasts forever but I want what I believe to be the final solid attempt at resurrecting Big Brother to last as long as it possibly can.

Regardless, I invite you to criticise my feedback. I invite you to modify it to suit your taste. I invite you to challenge it and build upon it. I invite you to disagree with me if you see fit. I invite you to write your own and reiterate your thoughts even if you’ve already posted them in a different buried thread on here.

Optional, but I would like to request you start your post with a grade out of ten. 8-10/10 = fantastic. 7/10 = good. 5-6/10 = barely passing. 1-4/10 = fail.

As this is a short run I’m saying it’s passable at the very best, but ultimately I’m giving it a 3/10 which I know contradicts my scoring system. Some core elements have returned and it’s good to see pieces of that show when we actually get to see them, and the live feed is a very welcomed return, but this reboot is flat.

Due to exceeding post length, I'm posting my feedback in the next comment.

 

[dasnico]

To the Big Brother Australia Production Team, Endemol Shine Australia, and Network 10,

I hope you’re well. I’m writing as a long-time fan who was genuinely excited for Big Brother’s return - especially after the exceptional pre-season campaign that promised a confident, nostalgic, back-to-roots revival. In the months leading up to the launch your social media team did a fantastic job. The marketing struck exactly the right tone: modern, polished, but deeply respectful of the show’s origins. It brought back viewers who hadn’t tuned in for years and created genuine optimism that Big Brother Australia was finally returning to its authentic identity.

That’s why the disconnect between the campaign and the on-air product has been so widely felt. Many viewers - including fans, casual viewers, and even former BB crew - have expressed that the show being broadcast feels at odds with the one that was advertised. I have written the following email hoping that executives and producers of the show will accept some feedback. Many points of dispute are highlighted from feedback on the Behind Big Brother Australia forums, Reddit (r/BBAU), Instagram and Facebook.

1. The Philosophical Mismatch: Mistaking “Modernising” for Improving

The biggest concern isn’t a single creative choice, but the underlying philosophy guiding the season. Recent interviews in TVTonight about “upping the pace” or “keeping stories moving” suggest a belief that today’s audiences won’t engage with Big Brother unless every moment is packaged, accelerated, or shaped into a neat storyline.

But this mindset runs counter to what made Big Brother powerful in the first place.

Big Brother has always been a slow-burn social experiment - a format that thrives on space:

• space for relationships to form.
• space for tension to simmer.
• space for truth to emerge organically.
• space for viewers to interpret moments without being told how to feel.

Boredom isn’t a problem in Big Brother. It’s the mechanic that reveals authenticity. The original producers understood this deeply, and that philosophy was key to the show’s early success.

That’s why it has been surprising - and disappointing - to see the format rebuilt on the assumption that authenticity isn’t enough for modern viewers. Internationally, the long-form, character-driven approach is thriving precisely because audiences today crave realness over manufactured drama.

2. The Daily Show: Over-Produced, Rushed, and Inconsistent

The Daily Shows currently feel more like a constructed reality-drama series than a true observational format. Recurring viewer concerns include:

• Episodes that feel over-edited, with conversations and events compressed or stripped of context.
• Excessive background music, particularly in emotional or tense moments, which often alters the natural tone or makes scenes feel engineered.
• Lengthy transition clips and “Previously On...” segments reducing time for actual house content.
• Clear editorial favouritism, with some housemates dominating airtime while others virtually vanish despite being active and relevant.
• The result is a nightly show that can feel inconsistent, rushed, and often disconnected from the reality viewers see elsewhere.

3. The Live Stream: The Best Part of the Reboot… and the Biggest Exposé

The revival of the 24/7 live stream was one of the smartest decisions made - and it generated enormous goodwill pre-season. When the feed is uninterrupted, it showcases exactly what makes Big Brother special: authentic relationships, genuine humour, tension that builds naturally, and a house that feels alive.

But the live feed has also become an unexpected mirror held up to the edited program. Instead of complementing the Daily Show, it often exposes how heavily curated the episodes are:

• Complex disagreements reduced to cartoonish arguments.
• Hours-long emotional arcs cut down to a single beat.
• Genuine connections omitted to maintain pre-selected narrative rivalries.
• House dynamics presented in the edit in ways that contradict the live feed.

The livestream has become the audit of the edited show - and the edited show isn’t passing the audit. It’s not that drama in the edit is unwanted; it’s that the edit often feels like it doesn’t trust the audience or the format.

4. Big Brother’s Persona: Too Soft, Too Involved, and Lacking Authority

Another major tonal shift this season is the embodiment of the producers - Big Brother himself. Many viewers have noted:

• BB sounds unusually conversational or therapeutic rather than authoritative.
• He responds casually outside the Diary Room and guides conversations too directly.
• Rules and punishments are inconsistently enforced or not shown.
• “Rest days” or production pauses feel incompatible with a 24/7 television format.

Big Brother doesn’t need to be harsh, but he needs to have presence - the firm, consistent tone from the Nick Colquhoun era is often cited as a necessary addition to blend into Pete Cunningham's current Big Brother character. Right now, BB feels more like another housemate than the omnipresent force that defines the format.

5. The Live Shows: Rushed, Underdeveloped, and Lacking Structure

The live shows are where the reboot feels the most uncertain:

• Segments feel loosely planned or unevenly paced.
• Live content is minimal within an otherwise pre-recorded format.
• Mel is a terrific host but isn’t being given room to shine - her involvement is brief and transitional.
• Eviction nights lack ceremony, transparency, and emotional weight.
• Interviews feel lackluster and superficial, and the stakes don’t translate.

Even industry professionals - including former BB staff - have noted this publicly online.

6. House Design, Creative Cohesion, and Casting Balance

While the house is understandably constrained by budget and location, several issues consistently come up:

• Bright, “kindergarten” styling and exposed cameras encourage performance over authenticity. Returning hotheads to being hidden behind mirrors would significantly improve authenticity.
• Patrons of the theme park rides being visible to housemates undercuts the isolation concept.
• The show lacks a unified creative identity across graphics, music, titles, and tasks.
• Casting is strong in diversity but overly weighted toward “blokey” male personalities who quickly dominate dynamics.

Some housemates’ extreme or controversial views have raised questions about casting vetting - and the reliance on casting influencers and/or rejected reality contestants feels at odds with the show’s social-experiment roots.

7. The Core Issue: A Bait-and-Switch Between Promise and Reality

The campaign sold a confident, authentic homecoming. The new series feels like a hybrid of Channel 7 and Channel 9 styled reality with a Big Brother wrapper. It’s not that this new direction is inherently bad - it simply doesn’t match what was promised.

8. The Positive: The Show Can Succeed With Small Adjustments

I want to emphasise that there are strong elements:

• Mel is fantastic. Mike being back is a huge plus.
• The cast is likeable and interesting.
• The live feed proves the format still works beautifully.
• The team is listening to viewer feedback - small improvements in recent episodes are noticeable.
• The marketing reignited public interest in a way few revivals manage to achieve.

Most of the improvements needed aren’t expensive or cost any money at all. Many are editorial or structural:

• Allow conversations room to breathe.
• Trust the cast and the format.
• Reduce editorial steering and over-scoring.
• Strengthen Big Brother’s authority and consistency.
• Give live shows more structure and significance.
• Unify the creative identity (graphics, the original eye used during most of your promotional material, titles, music, BB persona).
• Honour the authenticity that the livestream already proves is engaging.

Final Thought

I hope this message is received in the spirit intended: from someone who loves Big Brother, has watched since the beginning, and genuinely wants this revival to thrive.

With a clearer creative vision and a return to the authenticity the campaign so successfully celebrated, Big Brother Australia could easily deliver the homecoming fans were ready to embrace.

Thank you for your time, your work, and for bringing the show back.

Best regards