International Kids` TV trends

Transcription

International Kids' TV Trends
By
Johanna Karsenty, Kids’ TV Research Manager
Claire Mitchell, Kids’ Media Consultant
Eurodata TV Worldwide (France)
Source: Eurodata TV Worldwide / Kids TV Report 2012-2013 issues / Relevant
Partners
- All rights reserved
All rights
reserved
July 2013
1
Table of content
Foreword
Kids are watching more, but differently
International hits and local favourites
Focus on Programming trends
Digital to TV
Source: Eurodata TV Worldwide / Kids TV Report 2012-2013 issues / Relevant Partners - All rights reserved
2
Foreword
Television is in the middle of a big shakeup, with the appearance of new actors such as Netflix,
Amazon and Hulu radically changing the way content is made available to viewers and also upping
the stakes in terms of quality original production.
The children’s market is no exception, as new models for taking content to the young viewer become
increasingly viable. TV, however, has a unique place in children’s hearts. While they certainly expect
to find their favourite characters across a wide spectrum of screens and content providers, kids are
watching TV more than ever.
In this report, Eurodata TV Worldwide examines the latest trends in children’s viewing and content
around the world.
3
Kids are watching more, but differently
4
Kids watching more, but differently
After a huge increase in children’s TV consumption between 2009 and 2010 on our core European viewing
panel, daily viewing time seems to have found a level in 2012 with a global increase of seven minutes over
five years.
This dramatic growth was driven by the rollout for DTT in Europe and the subsequent analogue switch off. For the first
time in many countries, children had access to dedicated kids’ content whenever they wanted it, rather than being
confined to the traditional weekend morning and afterschool blocks on the generalist channels.
Most children now not only have access to their favourite TV
whenever they want it via the traditional set but also through
apps and online games, clips and interactive experiences.
This exposure is fueling their interest and keeping them
coming back to the TV content, rather than eating into their
TV time.
Children’s average Daily Viewing Time across France,
Germany, Italy, Spain and United Kingdom
While viewing in Europe and North America seems to be
finding a level, in other areas daily consumption is still
growing. In China daily viewing time rose by two minutes a
day between 2011 and 2012 to reach 2 hours 45 minutes a
day, while in Malaysia children watched an extra four
minutes a day last year to bring their average daily viewing to
an impressive 3 hours 29 minutes.
As TV measurement systems improve to capture viewing via different screens and at different times, we are
increasingly able to see a pattern of children watching more and more TV, but differently.
5
Viewing changes by country
From country to country there are also significant variations in the amount
of TV that children watch.
In Europe, it is Portuguese children that watch the most, with 3 hours 57
minutes a day in front of the small screen; an adjustment of the TV panel last
year revealed a very significant increase in viewing time. In Finland, meanwhile,
children spend just 1 hour 15 minutes watching the box, a slight though
continued year-on-year decline.
Finland is an interesting case as the pubcaster YLE has so far chosen not to
launch a dedicated kids’ channel and the majority of viewing still takes place
through the morning children’s block on YLE2. Although private kids’ channel
MTV3 Juniori is now pulling in a good market share of 10.2% among children,
Finnish channels are also encouraging children to seek out content online,
something that is not yet part of viewing measurement in the country and so not
included in the daily viewing figure.
North Americans have always been among TVs biggest fans and US and
Canadian kids continue to enjoy the small screen, with children in the States
watching on average 3 hours 36 minutes a day. In Russia, meanwhile, TV
viewing among children received a boost of 11 minutes a day between 2011 and
2012, with children now watching 2 hours 22 minutes a day
These differences are of course influenced by cultural norms and how television
viewing by children is perceived and monitored by parents. The choice of content
available, school hours and the general pattern of children’s days are other
important factors reflected in these diverse daily viewing times.
3h58
1h15
Portugal*
Finland
3h36
3h00
USA
Canada (English)
3h29
2h45
Malaysia
China
2012
*DVT calculated on March-December 2012
6
Time for school, time for TV
The pattern of children’s days varies a lot by country, and the most popular TV slots change with them.
In the UK, children’s school day is more compressed that in France and Italy, meaning that children don’t often go home for
lunch. This does leave time for some TV before school however, and viewing goes up again quickly after 3pm when they start
going home.
In both Italy and France there is a sharper primetime viewing peak and there is also a clear peak for lunch. School and meal
times are not exactly the same, however, and we can note that both peaks happen about an hour later in Italy than in France.
Methodology: Analysis based on the Total TV curves on Monday to Friday (July – December 2012)
7
Focus on Disney Channel
International channels, therefore, adapt their programming by country, not only to take into account
differences in the top viewing times, but also in terms of content adapted to each market.
Looking at the top performing viewing slots for Disney Channel in Spain, Portugal and Russia, we can see that
while in Russia the channel gathered its best scores with animated titles aired around 5pm, in Spain viewing peaked
much later at 9pm, with the Spanish language telenovela Violetta.
Meanwhile in Portugal it was US live action series
Jessie and Hannah Montana that attracted the
biggest audiences at around 8pm.
The audience peaks for children’s
channels do not necessarily reflect
the total TV viewing audience peak
for children. This is because they
often gather their best viewing
figures when children are watching
TV on their own, such as on
weekend mornings and just after
school. In the evenings, when the
family is gathered together around
the
television
screen,
family
programming on generalist channels
is often the preferred choice.
8
Children’s channels keep kids tuned in
In most territories studied, it is local dedicated children’s channels that lead the market in terms of share.
In many cases, these channels benefited from being the first free digital children’s channels available in the territory to
expand their shares rapidly over the past decade, or even just in the last few years. Especially in the case of the youngest
viewers, parents are often reassured by the fact their children are in the care of the local public service or another trusted
broadcaster.
In the UK, CBBC and CBeebies continue to lead the market among school age kids and preschoolers respectively, while
in Germany the long established commercial Super RTL is more or less neck and neck with the public KiKA with 20.5% vs
20.1% measured on their hours of broadcast among children 3-13. The children’s channels of the public services in
Norway, Sweden and Denmark have all established themselves in a short space of time as clearly dominant in their
home markets, while CCTV Kids in China has nearly doubled its market share between the first half of 2011 and the
second half of 2012.
In some markets, however, such as Portugal, the Philippines and the Netherlands, it is the US kids’ networks that have
the upper hand, in this case Disney Channel, Cartoon Network and Nickelodeon respectively. In many other markets
these nets appear as close challengers to established local leaders.
6.7%
Jan-June 2008
Jul-Dec 2012
NRK Super average share (children 3-14 / children 2-14) 06:30 – 19:30
24.9%
20.5%
35.0%
36.6%
July – Dec 2012
Super RTL average share (children 3-13) All day
8.9%
Jan-June 2011
Jan-June 2009
July – Dec 2012
SVTB average share (children 3-14) 05:30 – 20:00
16.4%
July – Dec 2012
CCTV Kids average share (children 4-14) All day
9
The competition heats up
As the markets of digital children’s channels mature, the established leaders are having to fight hard to hold on
to their crowns.
In Spain, both the public leader Clan and Disney Channel benefited from their position as free digital channels to
increase their market shares significantly from 2008. Newcomer Boing, launched during the second half of 2010 is
shaking up the Spanish market, winning share from both the longer-established channels. Over the second semester of
2012 Boing posted a share of 13.7%, putting it in second place ahead of Disney Channel and not far behind Clan.
The channel has positioned itself as a boy-skewing
brand targeting mainly the 6-10 age range with a
mix of US and Japanese animation. This strategy
had allowed it to eat into Clan’s audience, as this
channel’s profile has tended to skew male.
In both the UK and Germany the top three
children’s channels all slipped slightly in terms of
market share (respectively CBBC, CBeebies and
Disney Channel and KiKA, Super RTL and
Nickelodeon).
In the USA the long term leader Nickelodeon was
overtaken by Disney in 2011 and the latter channel
is consolidating its lead, with a 0.4 point increase in
market share between the first an second half of
2012 to reach 15.5% among children 2-11, against
12.6% for Nickelodeon.
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International hits and local favourites
11
Live action and non-scripted challenge animation
Animation, the core of children’s TV viewing
12
Live action and non-scripted challenge animation
When it comes to dedicated children’s content, animation forms the core of both scheduling by volume and
children’s favourite shows, however the power of both live-action fiction and non-scripted shows is growing.
As the graph above demonstrates, 62% of titles appearing in the top twenty rankings were animation, across a panel
of ten major markets in Europe, North America and Australia. Animation of course has the advantage of travelling easily at
an international level, without the problems of dubbing or being too specific to a particular culture.
In some countries, such as France, the animation market is supported by the government with the public service obliged
to commission local projects, giving cartoons a privileged place in the schedules which allows them to dominate the top
ranking children’s programs in the country (95% animation). In other areas commissioning budgets are small and large
amounts of programming are acquired from abroad, which also pushes up the volume of animation being aired on the
main local channels.
In the US, where both Disney and Nickelodeon are renowned for their live action tween series, these titles gather 55% of
the places in the top rankings. They also appear among the best performing shows for Disney and Nickelodeon’s channels
around the world, but as in many territories market shares for these channels are not equal to those local competitors
(they are often available only via cabsat packages) they are not always among the best performing shows overall.
In Northern European countries the public service broadcasters provide a wide variety of local programming for children,
including many factual and entertainment formats and local live action. In the UK, more than half the top ranking is made
up of non-fiction programs on the children’s channels of the BBC. The situation is similar in the Nordic countries where
children enjoy a variety of genres provided by SVTB (Sweden), NRK Super (Norway) and DR Ramasjang (Denmark). The
US giants are also increasingly experimenting with non-fiction programs, which are often well received.
It is clear that children themselves enjoy all kinds of programming, whether non-fiction, live action or animation. The
genres they consume, however, remain heavily conditioned by the local offer.
13
Global Hits
The most important audience drivers are of course formats themselves.
Looking through the top ranking programs around the world, there are some titles that manage to bring children
together from diverse cultures and languages. Among the most frequently recurring titles in the top rankings over the
second half of 2012 were Tom & Jerry (ranked among the top 20 shows in France, Russia, Finland, Italy and Spain),
Good Luck Charlie and Jessie (both in the USA, Russia, Germany and Canada).
•
In the latter two examples we see the fruits of partnerships between Disney and local channels,
in this case Super RTL in Germany and Family in Canada. In Russia meanwhile, it is the
branded Disney channel that makes a place for itself in the top ranking. The high school live
action comedies that Disney and Nickelodeon have made their own have a clear international
appeal, with pre-teen girls from around the world appreciating their high-gloss aspirational look.
Although these channels do in some cases adapt titles internationally (examples include As The
Bell Rings from Disney and House of Anubis from Nickelodeon), the dubbing of finished
formats does not seem to be a big issue for this tween audience.
Apart from the classic Tom & Jerry, other cartoons to make the top lists in more than
one country included another classic brand, Scooby Doo, with the Mystery
Incorporated series among the top shows in the UK, France and Italy. Spongebob
Squarepants, the Penguins of Madagascar, Phineas and Ferb and Shaun the
Sheep also continued their international success. These formats all have the advantage
of appealing to a fairly wide age range with different layers of humour, as well as
attracting both boys and girls.
Scooby Doo: Mystery Incorporated
14
Global Hits
There are some titles that are particularly successful in appealing to a wide range of
children, and are as much loved by pre-schoolers as by their older brothers and sisters.
Among these were Tom & Jerry and Shaun the Sheep, which both appeared several
times among the most popular children’s programs overall and also the most popular
programs among pre-schoolers.
Among younger children, animation is particularly strong
While the public service broadcasters (and some others) do provide both live action and non-scripted shows for preschoolers, these tend to be quite culturally specific and so have less international appeal as finished formats. The
result is that animation clearly retains the upper hand on this target audience, with 82% of places in the top twenty
rankings across the panel studied.
Over the second semester of 2012 Octonauts stood out as a particular hit with this
age group, featuring among the top programs on preschoolers in Finland, Canada,
Australia and the UK. In Finland the title gathered an average share of 92% among
children 4-9 on YLE2. Peppa Pig, Dinosaur King, Mike the Knight and Le Petit
Prince all also managed to rank among the top programs in at least three countries.
Octonauts
It is worth noting that on this target it is not always the US studios that have the international edge. UK productions
(Octonauts, Peppa Pig) sell well internationally to local broadcasters, while the French cartoon Le Petit Prince has
made a hit in Russia, Germany and Italy. Mike the Knight, a coproduction between Canada and the UK, is not only a
hit in both these countries but was also among the top 20 preschool titles in Spain.
15
Local Favourites
While US formats still have the edge when it comes to worldwide reach, at home it is often local productions
that lead the tables.
In China, Pleasant Goat and Big Big Wolf (CCTV Kids) enjoys audiences that broadcasters in other countries can
only dream of, with more than 10 million children watching on average per episode. In Germany Unser
Sandmannchen, which has been giving German kids their good night story since 1959, was still on top over the
second half of 2012 with a 70% share among pre-schoolers 3-5 (KiKA).
British children are big fans of the local productions of the BBC, and the animal focused reality show Pet School
(CBBC) topped the ranking over the period studied. Home grown formats also led the tables in Portugal (Morangos
com Acucar, TVI) the Philippines (Goin’ Bulilit, ABS – CBN) and the Nordics, where local ‘Advent Calendar’ series
reign over the second part of the year.
This selection gives a taste of the variety of local programming that successfully plays on a greater cultural proximity
to the viewer to beat imported titles. From the revival of classic local animation with a cross-generational appeal (Les
Mysterieuses Cités d’Or in France) via live action series that give tweens a vision that is at once aspirational and
recognisable (Morangos com Acucar) to entertainment comedy that catches the local sense of humour (Goin’
Bulilit), all these formats manage to stand out from the international crowd.
Pleasant Goat and Big
Big Wolf in China
Pet School in the UK
Morangos com Acucar
In Portugal
Goin’ Bulilit in the Philippines
Unser Sanmannchen in
Germany
16
Focus on Programming Trends
17
Classics fight back
A good way to ensure a pre-existing fan base for a new title is of course to put a new spin of a classic
favourite. At a time when industry players are less willing than usual to take risks on new formats, the idea of a taking
on an already well-loved character is obviously tempting.
Among the many recent examples of this is Babar and the Adventures of Badou, a 3D
animated series based on the Babar character, first on our screens back in 1989 and itself an
adaptation of a popular children’s book. The show has been sold in Canada, Australia, the
UK, the US and Italy, and over the second semester of 2012 it was among the top 20 best
performing children’s programs in Finland and Thailand.
Other retro hits to find an new lease of life include Maya the Bee, among the top performing programs in Italy, while
Garfield & Cie enchanted a new generation of fans in France, with 209 000 viewers aged 4-14 on average on France 3
for a 18.8% market share over July – December 2012. The Teenage Mutant Ninja Turtles have also been the subject
of a makeover, with the CGI reptiles finding themselves among the top ranking children’s formats in both the US and
Canada over the second half of 2012. In May 2013 they also featured among the top performing kids’ broadcasts in
both France and Spain.
If the past is proving an endless source of inspiration for broadcasters, adapters need to work hard to make sure that
they are able to capture the essence of the original show that made it well-loved in the first place.
Italy
France
Canada, USA,
France, Spain
18
Telenovelas hook European preteens
Broadcasters looking to attract a slightly older audience have been turning their eyes towards the youth
telenovelas of South America. These have proved extremely successful not only in their native continent but also
Spain, Italy and other territories.
•
The huge excitement created by Patito Feo, an adolescent version of Ugly Betty, within Latin
America encouraged European broadcasters to take a chance on the format, with excellent
results, particularly in Italy and Spain. Broadcasters are now looking to fill the gap created by the
end of the series with other similar titles, including Floricienta, a title that was in fact aired prior
to Patito Feo in South America. Loosely based on the Cinderella story, the series was a big
crossover success with a musical version selling out stadiums and two music albums. In
Europe, Italian children in particular enjoyed the series, among whom it was the sixth best
performing series over the second half of 2012.
Nini, which also starred Florencia Bertotti of Floricienta, has come under fire for its very close
resemblance to the latter series and was pulled from air after a legal ruling. Children don’t
seem to mind seeing double, however, and Nini was also ranked among the top performing
children’s programs in Italy over the same time period. Another Argentinian series to make to
top ranking in this country was Consentidos (all aired on Boing in Italy).
•
Nickelodeon Latin America also decided to get in on the trend, producing Isa TKM in
coproduction with Sony. Having performed well in Latin American the title was again eagerly
picked up by Boing in Italy where is was the 12th top performing broadcast in May 2013.
•
Disney Channel has recently entered the same arena with the international coproduction
Violetta, which is performing well in Spain and Italy, but also in Russia, where it was the 12th
best performing children’s show in April 2013 (Disney Channel).
Isa TKM
19
A thriving co-production market
Co-productions are increasingly in evidence among the best performing programs. Working together
imaginatively can add international scope to a project, both financially and culturally.
Violetta, mentioned above, is an excellent example of this. The first project of its kind
for Disney saw Disney Channel Latin America and Disney Channel Spain working
together to create a show that was purposefully international in its cast and themes.
Their efforts have been crowned with success: Violetta was the top children’s format in
Spain over the July – December 2012 with 162 800 children 4-12 watching on average
for a 15.4% market share on Disney Channel.
Violetta
Another high profile recent copro was the BBC / ZDF production Wolfblood. Picking up on a pre-teen market looking
for a post Twilight fix, the series has a dark, polished look and has proved a hit for CBBC in the UK, ranking as the
12th most watched children’s program in the country over the second half of 2012. The series also looks to have an
international future ahead after Disney Channel picked up the rights.
The New Adventures of Peter Pan
After the successful collaboration of DQ Entertainment (India) with Moonscoop (France) and
ZDF (Germany) on the Jungle Book, DQ has once again teamed up with ZDF and a
different French company, Method Animation, to bring another classic character to life in 3D:
Peter Pan. While the Jungle Book was number one in Germany in May 2013 (KiKA), The
New Adventures of Peter Pan made a place for itself within the top 20 broadcasts in
France.
Looking closer to home, France and Belgium worked together on another recent revamp of a
classic title: Les Mystérieuses Cités d’Or. Originally a coproduction between France and
Japan, the new version is 100% European but appears to have lost none of its charm, it was
the top performing children’s program in France from July – December 2012, with 319 000
children 4-14 watching average for a 25.0% share of TF1.
.
Les Mystérieuses Cités d’Or
20
Comedy for kids
While edutainment programming has long been a priority of public channels, especially in Northern
Europe, pure entertainment is appearing more and more among the top performing children’s programs.
In the US, Disney Channel branched out into the genre in 2011 with the hidden camera
reality show Prankstars, the success of which has encouraged it to launch Code:9. The
format, in which a family plays a prank on one of the parents, ranked as the fifth most
popular kids’ format in the US over the second half of 2012. Over the same period the
show ranked in fourth position on Family Channel in Canada.
Code:9
In France, where animation generally has a firm hold on the children’s TV schedules, the TF1 children’s block
has launched into comedy with another hidden camera format, C’est pas nous c’est TFOU. The title was the
9th best performing children’s episode over the month of April 2013.
Meanwhile in the UK and Australia children enjoyed their own dedicated comedy sketch
shows. After the success of Sorry I’ve Got No Head (CBBC), the BBC introduced the
genre to an even younger audience with Gigglebiz on preschool channel CBeebies. The
format positioned itself as the sixth best performing children’s program among children 4-6
over July – December 2012. In Australia, where the children’s sketch shows of the BBC
have also found fans, the homegrown format You’re Skitting Me ranked among the top
20 children’s titles over the same period on ABC3.
Gigglebiz
Game shows are also becoming popular with kids’ networks, a recent example being No sin mis padres, aired
on Boing in Spain, where it was the third best performing show on the channel and the 11th format in Spain
overall. Scripted hits, whether animation or live action, can also be spun off successfully into entertainment
shows. An example is Shake It Up, which has spawned dance competition formats in several countries,
reaching number six in the Russian top ranking (Disney Channel). Previously Ben 10: Ultimate Challenge has
also proved that a strong animation property can make for a popular TV game show.
21
Digital and TV collide
Today’s children are digital natives and expect their favorite content to be available at the same time on
linear television and via new screens. The TV market is well aware of this and is starting to adapt to this trend.
More and more links have been forged between connected platforms and TV series. For example, Mattel’s
webseries Barbie: Life in the Dreamhouse, initially broadcast only on Mattel’s website, was successfully
launched on Spanish channel Boing in September 2012 and was among the top 20 kids’ broadcasts in the country
in April and May 2013. Another webseries, Monster High, topped the table in Spain in April.
Best episode in April 2013:
43.8% on 3-13 in Germany (Super RTL)
47.1% on 4-14 in Finland (MTV3)
27.8% on 4-14 in France (Gulli)
For many years we have seen brands move from the world of
video gaming onto TV, however this now also applies to web
videogames and smartphone apps. To name just one, the
animated series Angry Birds Toons produced by Rovio and
adapted from its famous mobile app, is already scoring good
audiences across Europe. Meanwhile, Zynga’s Farmville
will be also adapted to television.
Networks are starting to think of series development in a different way and are looking to launch properties on their
web platform as a digital experience to then create a successful show. This is a new way of getting content to
audiences with lower costs, more freedom and lower barriers to entry. Additionally, taking on a title based on an
existing app is of course a good way for channels to be sure of a property’s potential and popularity. It remains to
be seen, however, if this formula will replace traditional routes to market for the TV hits of the future.
Webseries
MonsterHigh.com
on Boing in Spain
children 4-12
(April 2013)
22
Perspectives
After major increases in consumption over the last few years children’s TV viewing seems to now be finding
a level. Children from the big five European territories of France, Germany, Italy, Spain and the UK watched an
average of 2 hours 16 minutes a day in 2012, seven minutes a day more than in 2008.
Maturing digital and cabsat markets mean that leading local kids’ channel are having to fight hard to hold onto
their crowns. Shares for the top children’s channels fell slightly in both Germany and the UK as smaller channels
consolidated their viewership. In Spain a relative newcomer, Boing, has eaten significantly into Clan’s market share,
while in the US Disney Channel is managing to extend its lead over the longstanding number one, Nickelodeon.
While animation still provides the staple diet of kids’ TV viewing in most countries, children are enthusiastic
consumers of all genres. Their viewing is strongly conditioned by the local offer, with live action in the lead in the US
and non-fiction programming attracting the highest numbers of viewers in the UK.
As far as international hits are concerned, a mix of classic and modern animated comedy was joined by live action
sitcoms from Disney and Nickelodeon, while a huge variety of local favorites also filled the top rankings. Among
these, notable trends included remakes of classic series, comedy, telenovelas and coproductions.
Finally, the world of digital is becoming ever more firmly linked with the world of children’s TV. As apps and web
based games make the crossover onto our screens, children are also expecting to find their favourite TV characters
online.
Sources: Eurodata TV Worldwide / Kids TV Report 2012-2013 issues / Relevant Partners: Nielsen regional TAM (Australia) / BBM (Canada) / CSM Media Research (China & Hong Kong) / ATO/Media
Research (Czech Republic) / TNS Gallup TV Meter (Denmark) / 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 Audience Measurement (Philippines, Poland, Thailand) / MarktestAudimetria (Portugal) / TNS Gallup Media (Russia) / SAARF (South Africa) / Kantar Media (Spain) / MMS Mediamatning I Skandinavien AB (Sweden) / BARB (UK) / Nielsen Media Research (USA) ALL RIGHTS RESERVED
23
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 100 territories 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 acallay@eurodatatv.com
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24

International Kids` TV trends

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