Nick Griffiths
Content + Editorial + Creative
I lead editorial, creative, and content teams to build formats and stories audiences care about — from broadcast entertainment to social-first platforms.
Work
LOVE ISLAND
Peacock US/ITV UK
Entertainment Format
Love Island is built as a romance-game format. Recouplings, bombshells and eliminations function as choice mechanics that create consequence, while confessionals and text alerts control information flow and emotional disclosure. Participation isn’t an add-on; it’s structural — audiences vote, speculate and form attachments in real time.Across the seasons I worked on (UK and USA), my focus was defining how choice, consequence and reveal operated across the arc of the format — designing emotional access points, information timing and participation loops that shaped identification and debate.The show behaves like an ecosystem rather than a single output; discourse, shipping, commentary and fandom extend the format beyond broadcast. The engine isn’t romance; it’s choice.
Work
THE VOICE
ITV UK
Competition Format
The Voice runs on performance progression. Blind auditions, battles and finals form a talent arc built around recognition, critique and payoff. Coaching and judging add perspective and tone; performance is the emotional currency.My role was to author contestant arcs across rounds — shaping reveals, setbacks and progression with attention to pacing and emotional clarity in collaboration with story and senior creative.Engagement extends through identification and fandom; audiences invest in talent, build favourites and participate through commentary and voting.
Work
THE MASKED SINGER US
FOX US
Entertainment Franchise
Masked Singer is built as a puzzle-reveal format. Performance, panel speculation and clue packages create misdirection, while the unmasking provides the payoff. The engine isn’t just spectacle; it’s anticipation — the audience plays the guessing game alongside the panel.Across the seasons I've worked on, the focus was defining how misdirection, clue logic and reveal timing operate as payoffs — balancing humour, spectacle and anticipation for a US prime time audience. The work is less about performance, more about gameplay and curiosity.Engagement is driven by speculation and fandom rather than identification; audiences trade guesses, form theories and circulate clues across platforms. The reveal is the emotional release, but the game is the distribution.
Work
The Only Way Is Essex
ITV UK
Constructed Reality
TOWIE is driven by character and confrontation. Story emerges from relationships, disagreement and disclosure rather than competition or gameplay. Confessionals function as a second voice, layering motive, humour and commentary over events. Essex provides identity, locale and social texture.My role was to shape confrontation beats, confession rhythm and ensemble dynamics across the episodes I worked on — influencing how tension surfaced, how it resolved (or didn’t), and how character history accumulated across the run.Engagement behaves differently here: audiences judge, side, defend, speculate and gossip. Characters act as micro-franchises; the currency isn’t payoff or victory, it’s judgement and tone.
About
I work at the intersection of editorial storytelling, entertainment formats and audience participation. My background is broadcast, where narrative, character and mechanics are engineered to create tension, choice and consequence.Across shows like Big Brother, TOWIE, Geordie Shore, Made in Chelsea and Love Island, the engines differ — social experiment, character confrontation, constructed reality, romance-game — but the fundamentals are the same: build characters, escalate stakes, pace reveals and honour audience intelligence.What’s changed is behaviour. Audiences don’t just watch; they participate. Moments become discourse, memes, commentary, fandom and speculation. Companion shows and digital extensions are no longer extras — they’re part of the ecosystem. The “show” travels across platforms.My work sits in that space, where story meets behaviour and formats outlive single outputs. Broadcast gave me narrative discipline; digital widened the canvas to participation, ecosystem and culture.
Contact
For enquiries, collaborations and conversations about creative, content and storytelling.
Thank you
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