Ten years ago this summer a show debuted on CBS that brought such changes to the television industry that it wouldn’t be the same. “Survivor” was not the first in the reality genre but it is the show that made network executives take notice, production companies change their development strategies, and put fear into writers that their services would not be needed anymore. The obituary for reality television has been written multiple times in the past decade but the format shows no sign of waning. “Survivor” is in its 21st installment, “The Amazing Race” returns for its 17th installment in September, and relative newcomers “Shark Tank” and “Jersey Shore” will also return to the airwaves. Over-the-top personalities, exotic locales, cutthroat competition, and clever editing combine to make for provocative programming that can draw in an audience by the millions. The first “Survivor” finale in August 2000 had a viewership of 51.7 million, the second highest television audience for the year. Up until then reality was relegated to cable channels where “The Real World” on MTV ruled the genre. With the success of “Survivor” the broadcast networks saw a viable business model. “There were a lot of skeptics, myself included,” said Rasha Drachkovitch, of 44 Blue Productions in Studio City. “I thought it was going to be a fad. Instead, it blew up.” After the summer of 2000, more doors opened for production companies such as 44 Blue, Bunim/Murray Productions in Van Nuys, and others located along a stretch of Ventura Boulevard that became dubbed “Reality Row.” Drachkovitch had been making unscripted programming for more than 10 years when the reality wave hit. Overnight, he and his colleagues made a change to their development strategy, taking what had been pitches for cable operators and tweaking them to present to the networks. Veteran company Bunim/Murray had also been in the unscripted business for years before 2000 having produced “The Real World” since 1992 and “Road Rules.” Post-“Survivor” Bunim/Murray had more buyers for its shows. It became a matter of monitoring what kind of programming the networks aired and coming up with pitches that fit, said President Gil Goldschein. “It is a copy cat business,” Drachkovitch added. “If you can come up with something similar to what is working you get a better audience (at the networks).” The early U.S. reality hits were themselves copies of show that proved popular in Europe, such as “Survivor” and “Big Brother,” now in its 12th season on CBS. Once the networks embraced reality, shows tended to center around competition and elimination of cast members, or had a surprise twist at the end. Later shows (think “The Osbournes”) centered around larger than life personalities. The evolution of the shows was necessary to keep audiences watching, said Barry Walsh, editor of Real Screen, a Toronto-based magazine for the reality and non-fiction programming industry. Inspirational themes A popular theme with shows nowadays is to be inspirational, such as in weight loss program “The Biggest Loser.” “The last big break out show was ‘Undercover Boss,’ which shows a CEO is a human being,” Walsh said. “That is a feel-good program that resonates.” Not all audiences tune in to feel good. Some want programs with stories taking place in extreme environments such as icy roads, storm-swept seas, or in the case of 44 Blue, prisons. “Lock Up” is now in its 10th season on MSNBC. In 2011, the company starts a new series set in a women’s maximum prison, “Breaking Down the Bars.” When putting a camera crew behind bars, there are no second takes. “That is why people watch,” Drachkovitch said. “They know you cannot ask an inmate to walk in a second time.” Bunim/Murray’s programs tend toward lighter fare that tries to stay ahead of the curve. “The Simple Life” was one of the first comedy reality series, while Goldschein describes “Keeping up with the Kardashians” as a modern day “Brady Bunch.” “People can relate to the sisters and how they interact with each other,” Goldschein said. Deal Making While the upcoming television season has fewer reality and unscripted shows than in past years the addition of new cable channels provide outlets for programming Recent acquisition by entertainment companies of production houses indicates a continued strong interest. In July, Warner Bros. paid $159 million for Shed Media, the company behind “Supernanny.” Britian-based Endemol added Authentic Entertainment Inc. in Burbank to its fold in a deal reportedly worth $60 million. Authentic produces reality shows for Bravo and TLC. Real Screen’s Walsh anticipates that more acquisition of smaller production companies will occur this year.