International Kids` TV Trends

Transcription

International Kids' TV Trends
By
Amandine Cassi, Head of Research,
Johanna Karsenty, Kids’ TV Research Manager
Eurodata TV Worldwide (France)
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Table of content
Foreword
Kids’ TV consumption stays strong
Continued growth of dedicated children’s channels
When kids control the remote…
Not just for grown-ups!
What about kids’ programming?
Global formats
Local fights back
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Foreword
The explosion in digital equipment has proved a catalyst for the renewed dynamism in international
broadcasting markets. It allows for an increasingly diverse offer, creates new uses and thus helps to
push up viewing times across the world. No sector has been more deeply affected by these changes
than kids' TV. While children today, more than ever, can't get enough of the small screen, the way
they watch content is changing fast.
Eurodata TV Worldwide unveils the latest consumption trends, global hits and local sensations in the
global animation market place, with a special focus on key international success stories.
Sources: Eurodata TV Worldwide / Kids TV Report - ALL RIGHTS RESERVED
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Kids’ TV consumption stays strong
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Technology is central to the consumption of content
With new models for receiving and broadcasting content, technology is evolving fast and creating new
opportunities, new modes of consumption and requiring new systems of measurement.
With the development of DTT, a larger number of channels are available, which should encourage viewers, including
children, to spend more time in front of their television, as an increasingly diverse offer can better respond to the
desires of a wider range of targets.
Technology is thus central to the consumption of content, which are becoming and will continue to become
increasingly multi-platform. TV, internet and mobile phone should together allow greater opportunities to watch your
favourite show at any time, in any place and on any device.
The rise of the internet, new technologies and video
games has not distracted children's attention from the
small screen. Today’s children are natural media multi-taskers
and early adopters of new interactive technologies. They
expect to interact with their favourite content and characters
across a variety of platforms. However, these media-savvy
youngsters are far from abandoning the TV in favour of new
technology, and are in fact spending more time than ever in
front of the small screen.
Children’s average Daily Viewing Time across France,
Germany, Italy, Spain and United Kingdom
The daily viewing time results for the whole of 2011 soundly
confirm the trend already noted during previous years. Time
spent by kids watching TV is increasing globally, and in several
countries the growth is remarkable. Across the main
European territories, children's TV consumption remains
strong with a rise of nine minutes since 2008.
Sources: Eurodata TV Worldwide / Relevant Partners - ALL RIGHTS RESERVED
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Regional behaviours and local specificities
This global trend hides regional behaviours and local specificities. In general, eastern and southern
European countries are bigger TV consumers than northern Europe.
In the Czech Republic, children are watching 2 hours 02 minutes television (+9 minutes vs. 2010) while Portuguese
children spend 3 hours 04 minutes a day watching television.
German children, meanwhile, continue to watch significantly less TV than their closest neighbours, with just 1 hour 33
minutes a day spent in front of the box, despite short school days for children under eleven.
In Finland, daily viewing time among children 4-14 stands at only 1 hour 18 minutes, 8 minutes less than in 2008.
This decrease should be put into perspective as it pertains to different demo groups. The youngest children (4-9)
watched 1 hour 18 minutes in 2011, only one minute less than in 2008. The decrease is much more obvious among
children 10-14, who watched 16 minutes per day less in 2011 than in 2008. This decrease can be explained by a
modest TV offering compared to other key territories (YLE2 is the main provider of cartoons and youth programming),
Finnish channels adopting strong online strategies that increasingly provide web-TV content and pre-teens’ new
behaviours moving from TV to the internet.
Sources: Eurodata TV Worldwide / ATO/Media Research (Cz. Rep) / AGF/GfK Fernsehforschung (Germany) / Finnpanel Oy (Finland) - ALL RIGHTS RESERVED
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TSV and big events sustain TV consumption
Among new behaviours, time shifted viewing (TSV) is helping to drive the increase in viewing time across the
world and audience measurement companies are increasingly taking this into account.
Both France and Italy introduced the time-shifted viewing measurement in 2011 which contributed to the rise in daily
viewing time in these countries. In 2011, French children spent 2 hours 18 minutes every day in front of TV, i.e. an extra 6
minutes compared to 2010. This is the highest increase among “the big five” European countries. Italian children remain
among the biggest consumers of small screen content in Europe, with a daily viewing time of 2 hours 42 minutes (+3
minutes vs. 2010).
The big sporting events of 2010 boosted TV consumption across the world, including among children. It is
therefore not surprising that after this huge rise in 2010, the time spent watching television leveled off in 2011 in some
countries. The figures are nonetheless significantly higher than 2009. In the United Kingdom, daily viewing time stands at
2 hours 27 minutes, 4 minutes less than 2010 but 10 minutes more than in 2009. In Spain, with 2 hours 38 minutes, the
time children spend watching television is still 10 minutes a day more than in 2009, despite a slight decrease in 2011.
In North America, the United States pushed up daily viewing time with an extra 5 minutes spent in front of the box in
2011, standing at 3 hours 39 minutes each day. In Canada (English speaking), children are watching 3 hours 05 minutes,
2 minutes less than 2010 when the Vancouver Olympic Games boosted audience statistics.
Finally in Asia, a major centre for animation, children are particularly big consumers of TV in 2011: China (2h43, + 6
minutes vs. 2010), Japan (2h44, + 5 minutes), Indonesia (3h03, + 6 minutes) and Malaysia with 3h12 a day and an extra 9
minutes compared to 2011.
These increases seem to be driven by two factors: an increased channel offering that gives children far more
options when it comes to live television, combined with the ability to access their favourite shows whenever they
want via catch-up.
Sources: Eurodata TV Worldwide / Kids TV Report 2011 issues / Relevant Partners - ALL RIGHTS RESERVED
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Continued growth of dedicated children’s channels
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Increasing dominance of dedicated channels
The way children consume television and the platforms they prefer have been profoundly changed by the
digital revolution and the growth of new technologies.
The lion’s share of children’s consumption of dedicated programming is now going to free DTT channels, and kiddedicated platforms are continuing to eat away at the shares of generalist channels among the younger
demographics.
It surely comes as no surprise that kids, moving from the limited choice of children’s blocks provided by generalist
channels to the 24/7 choice provided by DTT, cable and satellite are enjoying the opportunity to spend more time with
their favourite characters. Thanks to this multiplication of channels, especially children’s ones, the overall offer of
youth programming has increased over the past years. However, we can observe a decrease in the youth volume of
some generalist channels which have chosen to concentrate their children’s offer on a dedicated sister channel. This
is the case, for example, for ITV1 in the UK, which saw the proportion of children’s programmes in its schedules
drastically decreased from 10% to 3% in favour of its sister channel CITV, launched in 2006.
The kids’ TV market in Europe is evolving faster than ever with the rapid rise of dedicated digital platforms,
giving kids greater choice about what they want to watch. Notably, in France, Spain and the United Kingdom, the
“other TV”’s market share has increased from 20 to 30 points among children, mostly due to the growth of the
children’s channels. This is combined with the (coming or completed) switch off of analogue TV loosening the grip of
traditional generalist channels.
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In Spain, where the switchover occurred in April 2010, Clan (TVE) experienced
massive growth over the past few years, registering a 21.5% share during the first
half of 2011 against 5.7% over the same period in 2009.
Another clear winner over the last twelve months in the country has been Boing.
Launched in September 2010, the Spanish version of the Mediaset owned Italian
kids’ channel is making its presence felt with a 5.9% share on the same age group.
Clan’s average share
(children 4-12)
In the United Kingdom, the children’s channels of the BBC, CBBC and
Cbeebies, are also quietly continuing to increase in strength, with shares on the 415 demo once again up year over year, despite the extremely wide and increasing
selection of children’s channels available.
A special mention once again, however, should go to Channel 5, as one of the few
generalist channels surveyed to continue showing growth for its pre-schooloriented children’s block as well as overall share in the children’s target.
CCBC’s average share
(children 4-15)
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In France, one of the few countries studied without a public DTT channel totally dedicated to kids, the free-to-air kids’
platform Gulli (joint-owned by Lagardère and France Televisions) is also showing gradual but healthy growth, increasing its
share by 0.6 points to 12.1% during the first semester of 2011, then peaking at 12.7% in August 2011 among children 4 –
14 in comparison with the first semester 2010. December is traditionally a weak month due to the Christmas special offers
on mainstream channels.
The shares of both TF1 and the France Televisions’ channels on this target, however, continue to decline steadily,
although TF1’s power remains strong, with 20.7% of young viewers’ time still being spent watching this broadcaster.
While in Western Europe the children’s channels of the local
leading networks tend to have the upper hand, US-based
brands like Disney, Nickelodeon and Cartoon Network take the
lead or rank close behind them in many other countries. In
Poland, Disney Channel led the field with 6.3% (Jan-Jun 2011),
and in South Africa it was Cartoon Network.
Poland
Nonetheless, in certain territories such as Russia and Hong
Kong, the traditional children’s blocks retain the lion’s share of
viewing, possibly due to a slower/reduced technical implantation
of dedicated children’s channels in some areas.
Market shares in % (January - June 2011)
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Total Day - Children 4-15
When kids control the remote…
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Time for school, time for TV
Although the key time slots for children’s TV are of course dictated by school hours, they vary considerably
from country to country and are also strongly affected by cultural differences. In places where children tend to
go home for lunch, such as China, the Netherlands and Spain, there is a clear secondary viewing peak in the middle
of the day. On the contrary, US viewing remains strong and steady throughout the day, rising from 3pm to the evening
peak at around 8pm. In fact, in the States, the number of kids watching TV never falls below the 2 million mark, even
in the middle of the night.
Significant lunchtime viewing & later primetime peak
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Key slots lunchtime and primetime
Kids’ channels make their own primetime
Children’s viewing might generally peak alongside that of their parents in primetime, but this doesn't
necessarily mean this is the top slot on all kids channels. Aside from the fact that in some countries like the UK
the main kids’ channels only air in the daytime, in many countries later viewing is dedicated to family content on the
generalist channels. In these cases, like Poland and South Africa, the leading children’s channel in country can record
its best results at breakfast or after school, when children are more likely to have sole control over the remote.
Of course, when children don’t have to go to school, viewing habits change. The TV comes on a little later, but
morning and in some case afternoon viewing is much stronger. Many children’s channels take advantage of this to
record some of their best results in the mornings on weekends.
Viewing peaks at breakfast and after
school
Cartoon Network - South Africa
South Africa
Total TV
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Not just for grown-ups!
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The supremacy of family shows
It would be a mistake to think that kids only watch children’s programmes. Children are of course naturally influenced
by their parents’ viewing habits, following national preferences for sports, talent shows, variety shows and scripted
series. In fact, apart from the United States where youth live-action series clearly dominate the top rankings of all
genres combined, family shows are the best performing programmes with children.
Among the best performing genres, music and talent shows dominate the top rankings in many countries. In France,
the immensely popular charity concert Dans L’oeil des enfoirés gathered over 1.5 million child viewers for a share of
64.1% with children 4-14, while in Germany and Italy singing competitions The Eurovision Song Contest and
Festival de San Remo were successful in uniting the whole family in front of the small screen with 71.5% and 43.9%
share with children, respectively.
Game shows are the essence of family programming and are especially appreciated by children. In France, they
tuned in during access primetime for The Price is Right and The Wheel of Fortune, while in Germany the long
running Wetten, Dass…? was the third best performing show with children during the second half of 2011.
Adventure-reality game shows such as Survivor, Amazing Race and I’m a Celebrity… Get Me Out of Here! are
also well positioned in rankings from Canada to France and the United Kingdom.
Children’s preferences for sporting events, including national competitions, reflect the local culture. In Canada, four
out of the ten best performing shows with children during the first half of 2011 were sport events: the hockey Stanley
Cup Finals topped the ranking with a 79.1% share with kids 2-11. In the United States, not surprisingly, the NFL
Super Bowl attracted the biggest children’s audience with more than 9.6 million kids, one quarter of the 2-11
population. In Spain, where football is religion, kids are watching both international and local competitions with
devotion. The Champions’ League, Spanish League and Spanish Cup regularly rule the rankings.
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Seeking talent!
Talent show formats such as Got Talent, Idols and The Voice are also good at pulling in a multi-generation
audience. Got Talent topped the rankings in the UK during the first half of 2011, and held good positions in Germany
and Australia. The German adaptation of Idols was the third most watched show by children 3-13 over the first
semester 2011 with a 61.3% share, while the American version managed to impose itself on the Canadian rankings.
The latest international sensation, The Voice, mesmerised Dutch children: the finale reached an outstanding 77%
share with children 6-12.
Children’s love of talent shows has not gone unnoticed by producers, who have been happy to oblige with both spin
offs and new formats especially aimed at children. In Australia, the revived format Young Talent Time delivered a
market share of 40.7% among children, a result that was 2.5 times Network Ten’s access primetime average among
children 5-12 in the country. Meanwhile in Holland, The Voice Kids has proved every bit as popular as the adult
version, gathering an amazing share of 65.2% among kids 6-12, three times RTL4’s primetime average in the
Netherlands.
Meanwhile, the success of the Junior Masterchef format in both these countries suggests the young talent
phenomenon won’t stop at singing.
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Feature films & series, the sibling influence
Moving on to fiction programming, feature films and series attracted a large
children’s audience. Christmas holidays are the occasion for them to watch
their favourite movies again and again. Recently, the best performing
movies have been animated: Madagascar, Ice Age, Ratatouille and
Shrek are among the most recurrent titles in the top rankings. However,
children are also keen to tune in for live-action movies and popular
franchises such as Home Alone, Harry Potter and Pirates of the
Caribbean, which glue the whole family to their TV screens. In France, the
home-grown movie Le Petit Nicolas (Little Nicholas) premiered on M6 in
September 2011, gathering 7.3 million viewers and a 30% share with all
individuals, overwhelming the competition on other channels. This
outstanding success was even more obvious with children, with more than
1.4 million watching (55.6% share).
As far as scripted comedy and drama are concerned, the most watched series by
children are often the same as their parents or elder brothers and sisters: House
in France, Modern Family and Glee in Australia, Grey’s Anatomy and The Big
Bang Theory in Canada. In the United Kingdom, the long running soap opera
EastEnders is a cross-generational success from the very young (up to 46% of
share among kids 4-6 in December 2011) to the very old. Over the second half of
2011, the fantasy series Doctor Who topped the ranking with an audience of
almost 2 million and a 50.3% share with children 4-15. Not surprisingly, Doctor
Who’s youth spin-off, The Sarah Janes Adventures, now in its fifth season,
continues to do well on CBBC with an average 12% share with children 4-15.
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Feature films & series, the sibling influence
Youth live-action series are often an intermediary step between childhood’s animated series and the scripted series dedicated to an
older audience. The children who are enjoying live-action series today are the teenagers and young adults who will appreciate scripted
drama and comedy tomorrow. Let’s take a look back in the rear-view mirror!
In 2007, in the United States, the best performing scripted programmes with children 6-11 were led by High School Musical 2,
followed by Hannah Montana, the feature film Jump in! and Cory in the House, all of which aired on the Disney Channel. Four years
later, those children have grown up and are now 12-17. In 2011, their preferred show is now Glee, aired on Fox. If iCarly
(Nickelodeon), Suite Life on Deck and Hannah Montana (both on Disney Channel) remain in their favourite scripted programmes,
they henceforth coexist with comedy and drama dedicated to an older audience such as Pretty Little Liars (Family), Two and a Half
Men (CBS) and The Game (Black Entertainment TV).
The same phenomenon can be observed in Germany. In 2007, High School Musical 2 (Pro7), Shrek the Halls (Pro7) and Hotel
Zack & Cody (Super RTL) were the best performing series / TV movie with children 10-13. Four years later, in 2011, individuals 14-19
prefer Hindenburg (RTL) a miniseries about the Zeppelin story, Doctor’s Diary (RTL) a ‘dramedy’ set in medical recalling Grey’s
Anatomy, and the US sitcom Two and a Half Men (Pro7).
2007 – Top 1 in Germany & in the USA
with children
2011 – Top 1 in Germany & in the USA
with teens
Hinderburg
USA: Children 6-11
Germany: Children 10-13
Germany: Teens 14-19
USA: Teens 12-17
These examples illustrate how important it is to secure the loyalty of viewers from the youngest age. Distinctive editorial picks and
narrative codes may help to drive child viewers from youth programming blocks and channels to other strategic blocks and sister
channels once they’re adults. However, as both the choice of channels and the choice of screens increases, the challenge of keeping
the whole family glued to the same show has never been so intense.
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What about kids’ programming?
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Live action and non-scripted challenge dominance of
animation
In the majority of countries, the very highest children’s audiences are still for family shows on generalist channels. When it
comes to dedicated kids’ content, live-action series as well as factual & entertainment formats are increasingly challenging the
dominance of animation.
On a panel of 13 territories (Australia, Canada, Czech Republic,
France, Germany, Italy, Netherlands, Poland, Russia, South
Africa, Spain, UK, USA), animated series clearly dominated the
youth programmes top ranking, representing 64% of entries. In
the meantime, live action represented almost a quarter of the
best performing shows in the same countries, peaking at 40% in
the United States.
Live action series seem to mostly be the prerogative of the
youth channels, especially of the US giants Disney and
Nickelodeon, except in north west Europe where local
productions are thriving. This is also the case for factual and
entertainment programming dedication to children, which is
extremely popular in territories like the UK and the Netherlands.
Youth programming Top 15 - Breakdown by genre (Jan-Jun 2011)
These preferences are naturally strongly conditioned by the offer, and where broadcasters offer liver action and non-scripted
programming this is often embraced with enthusiasm. A clear example of this is Poland, where the top 15 children’s titles were
entirely animation, as this is what is on offer in the generalist youth programming blocks. The top performing show on a kids’
channel, however, was the game show Ben 10: Ultimate Challenge. Thus the editorial choice and the availability of the youthdedicated channels may disguise very significant variations by country in terms of preferred genres.
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Global formats
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Content, the most important driver of success
Aside from technological development and a growing channel offering, content remains the most important driver of
success. Children do not exclusively watch cartoons and youth live-action series. They also appreciate family programmes that
include game show formats, series and sport events. Nonetheless, in terms of children-dedicated programmes, animation
clearly dominates the top rankings in a majority of territories such as Australia, France, Spain, Poland, Russia, Italy, South Africa
and the USA.
Children’s television apart, international TV trends show viewers’
preferences for local and homegrown productions. As an example, while
American productions clearly continue to be the most sold internationally, they
lose out in national top ten rankings around the world. We are not seeing the
appearance of ‘universal’ programmes, but instead the growing globalisation of
narrative schemes and codes. This tendency is illustrated by the growing success
of scripted and non-scripted formats. As far as finished programmes are
concerned, only a few manage to ignite ratings worldwide.
Animation, however, can be seen as the exception that confirms the rule. Cartoon representations are naturally less
culturally specific than ‘real people’ and voices can be dubbed in local languages and even accents without disturbing the
viewing experience. The result is that animation has always been able to travel across borders as a finished product in a way
that other types of programming can only dream of. While the ‘universal’ finished titles can find success around the world,
narrative codes are simultaneously being shared between different styles of animation. The perfect example of this is Japanese
manga, which has exerted a strong influence on European and American productions, while in the meantime finished manga
formats manage to air in multiple territories, resonating with local audiences and ranking as top-performing shows.
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International comedy
Animation is a uniquely exportable genre, less culturally specific and more easily and effectively dubbed than live action shows.
This means that certain titles have been able to impose themselves as finished formats leading the top ranking children’s
programs around the world.
If we can see the same titles cropping up all around the world, the parents of today might also be surprised at how many of the
hits of today may recognize from their own youth!. The aim of these retro productions is obviously to keep alive the qualities that
made the property special in the first place, while updating the viewing experience for a new generation.
Scooby Doo, for example, having first appeared on our screens back in 1969, is still pulling in huge numbers of viewers around
the world today. Over the first semester of 2011, various incarnations of the property were ranked among the top 15 children’s
shows in markets as diverse as the UK, France, Russia, Spain and Poland. Meanwhile, an average 7.3 million children 4-14
watched the continuing adventures of Tom & Jerry in China (CCTV1).
However, modern heroes can certainly still manage to impose themselves in the animation market, and over the last decade the
Penguins of Madagascar, Spongebob Squarepants and Phineas and Ferb have all enjoyed impressive results around the
world.
At a time when there is a lot for financial pressure on the kids’ TV market, producers are also looking to coproduction as a
solution. A successful recent example is The Jungle Book, which has ranked among the best performing shows with children or
pre-schoolers in South Korea, France, Italy and Germany, where it almost doubled KiKA’s average share on preschoolers 3-5.
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A taste of Japan
If animation formats have found success in exporting themselves as highly successful finished formats, we have also
seen a globalization of narrative and graphic codes. One of the most emblematic examples of this is Japanese
animation.
Pokémon is still going strong after fourteen seasons, imposing itself in top place in Taiwan and South Korea and
getting great results for its channels in Europe and beyond. In France, Beyblade was the top performing children’s
program, doubling Gulli’s market share, while in Hong Kong the format gathered a market share of 70.5%. Another
international anime hit is Bakugan, which multiplied by seven TV3’s share among children 4-9 in Russia.
In the meantime, European and American producers quickly took advantage of this trend, and the distinctive anime
‘look’ is evident in many of the formats present in worldwide tops, such as the hugely successful US Ben 10 franchise
and the Italian cartoon Winx Club, clearing drawing its style from Japanese magical girl animation.
Ben 10
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International live action
While among adults it is generally local series that gather the very highest ratings, young people seem less bothered
than their parents about dubbing and foreign stories and characters, especially when those characters come from the
US. Tweens and teens instead seem to love the American glamour that pervades the glossy live action productions of
Disney and Nickelodeon. Here, the accent is definitely on light hearted comedy that can gather the whole family in
front of the screen.
Audience Profile (%)
In Germany, on the youth dedicated channels, about half of
the audience of the flagship live-action series is made of
individuals 14+.
Focusing on series Victorious or Wizards of Waverly
Place, when they are broadcast on a generalist channel such
as ITV1 in the United Kingdom, the structure of the audience
is even more spread, with about one third of children 4-15
and another third of individuals 45+.
Audience Profile (%) – Victorious on ITV1
Audience Profile (%) – Wizards… on ITV1
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Local fights back
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Revenge of the outsiders
If these international hits are dominating the rankings in terms of volume, records are still being set by local productions both in
terms of ratings and longevity.
In the Czech Republic the best performing kids show last year was a cartoon produced in 1975, while German children still can’t
get enough of Unser Sandmanchenn, first aired in 1959. This year, however, the format was beaten to the top spot by the
animated spin off of the Sendung mit dem Elefanten, Elefantastisch!
Local animation also has a strong record in France, where the top performing homegrown format over the second half of last
year was the Minijustiers.
UK animation performs strongly both on the local market where Abney and Teal was the top animation among 4-6 year olds
over the second half of last year, but also in other European countries, with Fireman Sam the number one animation in Norway
and Octonauts the top cartoon in Finland.
In terms of ratings records, it is of course China that leads the field, with the local production GG Bond topping the ranking with
an average of 12 million children watching every episode!
Octonauts
Abney and Teal
GG Bond
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Revenge of the outsiders
In Germany, Italy, the Netherlands, Spain and the United Kingdom, youth programming offered on generalist
broadcasters consists of a variety of genres, from animation to factual and from game shows to live-action series. In
these countries, live-action series managed to stand out from the crowd and ignite ratings both on mainstream
broadcasters and thematic channels. In Germany, home-grown series (Pippi Langstrump, Die Pfefferkörner),
international co-production Mortified, and the Australian H2O: Just add water, for which ZDF Enterprises retains the
international sales, managed to rank in the top 15 youth programmes on pubcasters. In the meantime, Super RTL
obtained excellent results with Disney’s flagship series.
British scripted productions are well known for performing better than US series inthe domestic market. Youth live
action is no exception. Four locally-produced live action series managed to position themselves in an entertainmentand-factual dominated top ranking: Tracy Beaker Returns, Dani’s House, M.I High and Sadie J on BBC1. On
CBBC, Tracy Beaker and Sadie J rank alongside with The Sparticle Mystery.
In The Netherlands local productions coexist with American flagship series in the top rankings. Among Dutch homegrown hits, Spangas, set in the fictional high school Spangalis, achieved an average share of 29% on Nederland 3
(vs. an overall share of 12.7% with children 6-12). Nickelodeon’s Het Huis Anubis was developed in 2006 for the
local market before travelling worldwide and in the Netherlands, it still ranks among the best performing shows.
Meanwhile, Spanish and Italian children have a strong taste for youth telenovelas from South America, as well as the
international hits of Disney and Nickelodeon.
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Local non-fiction going strong
If internationally adapted formats take the lead when it comes to generalist entertainment programming, among children’s
programming local formats lead the way. Public broadcasters in many northern European countries have a strong tradition of
providing factual programming especially dedicated to children, and are expanding their offers to include entertainment
programming of all kinds, while in the US the main kids channels are winning big audiences with non-fiction shows.
In the UK, the BBC is very strong in this area, with its nature format Deadly 60. The series has been spun off as a live
transmedia concept Live n Deadly, as well as a range of other formats. Over the second half of 2011 the clip show Deadly 60
Top 10 and the studio based Deadly 360 both featured among the top 10 kids shows in the UK. Meanwhile, in the Netherlands,
non-scripted formats took four out of the top five spots in the children’s programming ranking over the first half of 2011, and in
Germany fun factual shows such as Wissen Macht Ah! continue to go from strength to strength.
The genre is also flourishing in Scandinavia, where in Norway the Barnas Supershow (NRK Super) allows children’s to take
over the whole program, and last semester it was the second most popular children’s show in the country, gathering 123 500
children 2-14 per episode for a 63% market. Meanwhile in the US over the second half of last year Disney’s Friends for
Change Games and Prankstars ranked alongside Nickelodeon game show Brainsurge in the top fifteen children’s programs.
So far only a few children’s entertainment programs, such as Ben 10: Ultimate Challenge and Splatalot! have been adapted
for different territories, but the boom in the generalist formats market suggests that this may be a trend to watch out for in coming
years.
Wissen Macht Ah!
Barnas Supershow
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Brainsurge
Perspectives
It is clear that children’s love for the small screen is showing no signs of fading, however there are challenges
as well as opportunities ahead for broadcasters and producers as they adapt to children’s new expectations and
habits of consumption. As thematic children’s channels come increasingly widely available to the point that in many
markets they dominate kids’ TV viewing, children have never before had such a wide choice in terms of the formats
available.
Animation nonetheless remains at the core of kids TV viewing around the world. Making the most of its unique
ability to adapt to different cultures, a handful of cartoons have been able to impose themselves among the most
watched programs in countless countries across the globe. At the same time, narrative and graphic codes are shared
internationally, as in the case of Japanese anime which simultaneously exports itself as highly popular finished
formats, while influencing local animation industries.
However, as the choice of dedicated children’s shows increases, live-action series as well as factual &
entertainment formats are increasingly challenging the dominance of animation. Live-action youth series not
only bridge the gap in children’s tastes between the animation favoured by younger viewers and scripted series with
more adult themes, they also provide an alternative that the whole family can enjoy together. Though in some
territories the popularity of youth series is still limited by lack of availability, the enthusiasm shown by children in other
areas should encourage broadcasters to experiment.
Sources: Eurodata TV Worldwide / Kids TV Report 2011 issues / Relevant Partners: OzTAM (Australia) / BBM (Canada) / CSM Media Research (China & Hong Kong) / ATO/Media Research (Czech
Republic) / Finnpanel Oy (Finland) / Médiamétrie (France) / AGF/GfK Fernsehforschung (Germany) / Nielsen Television Measurement (Indonesia & Malaysia) / Auditel (Italy) / Video Research (Japan) /
Stiching KijkOnderzoek (Netherlands) / TNS Gallup (Norway) / Nielsen TV Audience Measurement (Poland) / Marktest-Audimetria (Portugal) / TNS Gallup Media (Russia) / SAARF (South Africa) /
Kantar Media (Spain) / BARB (UK) / Nielsen Media Research (USA) - ALL RIGHTS RESERVED
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About the author
Created by Médiamétrie, Eurodata TV Worldwide distributes programming and audience
information, based on its partnership with the national institutes operating people meter systems
throughout the world. Today, Eurodata TV Worldwide’s database contains more than 3000
channels in more than 80 countries and provides an exhaustive amount of daily program
information including: content, production, international distribution and the audience levels for
targeted programs, all data emanating directly from the relevant authorized institute based in
each country around the world. This data provides a range of services which help in the
decision-making process of international media professionals. For more information, please
contact [email protected]
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International Kids` TV Trends

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