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You are here: HomeEurodata TV WorldwidePress releases › Kids TV Report July - December 2016 - Consumption of kids TV programmes : a shifting balance
Kids TV Report July - December 2016 - Consumption of kids TV programmes : a shifting balance


During the second half of 2016, kids channels growth has stabilised. Simultaneously, creative programmes have started on digital platforms and new OTT players emerge. However, well-established brands still represent safe bets.

Kids TV Report July - December 2016 - Consumption of kids TV programmes : a shifting balance
The audience for specialist channels has stabilised

After several years of an increase in audience share, specialist kids’ channels saw their audience stabilise this half-year, except in France where the audience share for kids’ channels is about 40% among children, increased by 2 points.

Second exception, the channels that succeeded in maintaining growth in this climate were usually local players, such as France 4 in France or KiKA in Germany. Nevertheless, Disney Channel has strengthened its position in Spain and Germany, the two markets where it is available free of charge. At the end of 2016, Germany was the only country where kids’ channels represented more than 50% of the combined audience share among children1, a figure that stood at 43.7% in Spain and 39.5% in Italy.

Finally, among pre-schoolers2 , specialist channels continue to be strong, with an audience share ranging between 50 and 60%. In Spain and the United Kingdom, Clan and Cbeebies saw their audience share increase, by 8.7% and 10.6% respectively, among pre-school children, and continued to dominate the tops of the most powerful programme. 

New programmes via digital 

New formats have successfully shown the complementarity between linear and digital: in the United Kingdom, the YouTube blogger Maddie Moate presents the new star educational programme from Cbeebies, Do You Know? (No.1 among children). In the summer, in France, Gulli launched its web series Les Tactiques d’Emma, on its YouTube page, which ensured the success of its launch on television a few weeks later.

Overall, there appears to be fewer new programmes and hits often come from strong brands. Among the new programmes best ranked, many come from established franchises, such as The Penguins of Madagascar and All Hail King Julien, a spin-off of the cartoon by DreamWorks, Madagascar. In Italy and Spain, an adventure game inspired by the world of cartoons Adventure Time, is ranked in the top 5 among children in both countries on Boing.

Great diversity can be seen in the origins of the programmes among the leaders in two different countries: Yo Soy Franky (produced by Televideo SA) has made its mark one year after Chica Vampiro, another Colombian soap opera for teenagers, while the Irish pre-school cartoon Nelly and Nora has won over children in Germany and the United Kingdom. The anime Yo-Kai Watch has become an instant hit in France and Italy. Coproductions have also made a mark, such as Doc McStuffins, Octonauts and The New Adventures of Peter Pan.

Specialist SVOD platforms trying to make a mark overseas

On the other hand, in the field of SVOD, several specialist players are trying to pierce a market dominated by generalist giants, such as Netflix and Amazon, which have enriched the kids’ offerings over the past few months. Several local players are displaying international ambitions, such as the British firm Hopster, purchased by Sony in October 2016, or the American firm Toon Googles and the Swedish Toca TV (launched in 2016), a spin-off of the Toca Boca game apps.

These specialist players distinguish themselves by a range of complementary offerings, such as games, music, books and audio, and build an educational and interactive environment designed specifically for kids’ browsing.

In August 2016, YouTube also committed to this market by integrating YouTube Kids into YouTube Red, the platform’s paying on-demand video offering which provides access to original and exclusive content. Furthermore, the online video leader announced the production of several kids’ series, the launch of which is planned for spring on YouTube Red.

Over the coming months, the challenge for these platforms should be their launch in new territories and the production of original content.


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